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PREMIERE: “LET’S GET OUT OF HERE” BY JAMIE MCLEAN BAND

In the midst of a cold and dreary winter, and just when the world-famous weather-forecasting groundhog’s shadow has predicted that there’s no end in sight, guitar-wielding blue-eyed soul man Jamie McLean comes through with a little ray of sunshine with his new single, “Let’s Get Out Of Here,” a modernized boy-meets-girl story. The tune is featured on McLean’s forthcoming album, One And Only, out February 23rd.

“A fella is interested in a lady. There’s some dancing. Her friends are around to judge a bit. There’s so more dancing. He proposes that they take this party elsewhere,” McLean explains of the song. “It’s funny. When I started this song it had almost a reggae feel to it. I was working with Brett Dennen at the time and almost thought about giving him the song instead of recording it myself,” he continues. “I kept hearing a sax solo on this one so I called up my buddy Jeff Coffin from Dave Matthews Band. He totally kills it! Perfect summer vibe!”

As it happens, the band relied on their drummer to keep them focused on the summery vibe. “He played the entire song with a whistle in his mouth. You can hear it at the very end,” McLean reveals. “We kept asking him ‘what time does beach volleyball start?’ By the end of the song he was drooling and looked like a Saint Bernard,” he adds with a laugh. “It kept the whole song beachy and fun.”

Baby Robot Media is a music publicity and media service agency with employees in Los Angeles, Memphis, Atlanta & New York and represent musicians from all over the world. We specialize in promotional ( PR ) campaigns for albums, singles and videos, tour press, radio, music video production, music marketing, social media campaigns, Spotify campaigns and creating promotional content. Our mission is to help great unknown bands reach a wider audience and to help already successful artists manage their brand identity and continue to thrive. Our music publicists have over 50 years of combined experience in the music industry. We are known as one of the best in the business.

by Baby Robot Media

Interview | FFS Chats with Kellen of Troy about Making Music, Meeting Fans, and Getting Sweaty

Nashville indie folk-rock artist, Kellen Wenrich, once found himself a fiddle player in Apache Relay. Now, the multi-instrumentalist begins his solo career with a debut LP, Posthumous Release (out 16 February). Wenrich has performed with Jenny Lewis, Mumford & Sons, The Wild Feathers, G. Love, The Devil Makes Three, JP Harris, rayLand Baxter, Gill Landry, Desert Noises & more. His Sad Bastard EP was recently hailed by NPR as one of World Café’s “Indie Discoveries Of 2017“.

KoT’s Posthumous Release finds Wenrich mellow, focused, and rich with realization. The impassioned new record employs situational irony, with self-reflective and somber lyrics that are often defied by cheery, blissful and breezy indie-folk countermelodies. He pens parables from personal and professional life and backs up his vulnerable confessions with dense arrangements.

As Wenrich gears up for his February release, he was kind enough to take a break and share the origins of Kellen of Troy, and what he hopes to accomplish in the near future.

Can you tell us about your music and how Kellen of Troy got its start?

I make folk-pop-rock from Nashville, Tennessee. I’ve been playing music in various roles since I was a kid, but I started writing and performing as Kellen of Troy after an old band and an old relationship fell apart simultaneously. KoT started as a practice in self-assuredness, but I began liking what I was doing and thought it deserved to be heard, so I started recording and playing shows.

How do you engage with your audience?

I love talking and getting to know fans in person, especially if they don’t realize I’m playing in a group they’re a fan of. One of my favorite things to do is get fans on the guest list to shows I’m playing, if they don’t have a ticket or can’t afford one.

by Baby Robot Media

Destroy/Exist premieres “Melting Over You” by Beechwood

arrying a lot from the psychelic garage rock of the sixties and the genre’s resurgence which happened in the eighties, NYC’s Beechwood have started the year with much confidence, and a brilliant new album.

Although the recently released Songs From the Land of Nod deserves the listener’s attention in its entirety, and although it’s a brief record which clocks at just a bit over 32 minutes, the album without a doubt sounds capable of producing more than enough singles and highlights.

Beechwood move within the limits of their hometown’s very rich punk rock history, so names are going to be dropped, and the comparisons will be inescapable. Whether one perceives their sound as a more glam-oriented version of Television, a more intricate version of the Ramones, a dirtier version of the Blues Magoos or just something that could have jumped right out of the original Nuggets compilation, the trio’s gritty sound is impressive enough to speak for itself and nail its audience down.

Melting Over You is one of those tracks which convey that original New York garage punk feel, and while we’ve heard a whole lot of its kind in the past, it’s not very common, still, much welcome to encounter these days. READ MORE…

by Baby Robot Media

Influences: Great Peacock

Nashville’s Great Peacock?? comprised of lead singer and guitarist Andrew Nelson, guitarist Blount Floyd, drummer Nick Recio and bass player Frank Keith IV ?? are fixtures in the Southern festival circuit including Shakey Knees, they’ve shared stages with an abundance of equally-minded noise-makers, including Colter Wall, Hurray for the Riff Raff, Cage the Elephant, American Aquarium, Margo Price, and Jonathan Tyler.

Nelson recounts the birth of the band. Late one night, when they were drunk on Bushwackers, Nelson, “…jokingly said we were going to start a folk band, and we wrote a song called ‘Desert Lark.’” Close friends and family raved about what they had nonchalantly created. The band soon became a reality in early 2013, and their debut album Making Ghosts arrived two years later.

Having grown up in a rather sheltered Pentecostal household in the suburbs of Birmingham, Alabama, Nelson tuned into the only secular music he was allowed to listen to: the local oldies station. “What really got me into music is the blues. When I was a teenager I really liked John Lee Hooker, Freddy King, BB King and Buddy Guy. I think you can hear these influences in the new songs in some ways. At an early age, I learned how hitting the right chords at the right times could really mess with somebody’s emotions.”

It wasn’t until he was 14 years old that he heard Lynyrd Skynyrd’s “Free Bird” for the first time, and it changed everything. “When I heard the guitar solo, I freaked out. I went downstairs and started playing my brother’s guitars when he wasn’t home. I taught myself how to play, because I loved that song so much. I would get my ass kicked for breaking his strings, though. I had to learn fast, and I knew I wouldn’t get a guitar from my parents if I didn’t already show some interest or effort.”

by Baby Robot Media

Sir Canyon Heads For the West Coast on “Ventura Skies” (premiere)

Better known as Sir Canyon, Los Angeles artist Noah Lamberth offers his alternative take on country music with more of a psychedelic twist than most. Accentuated by radiant pedal steel, shimmering vocal reverb, and a steady, dreamy vibe from beginning to end, the Americana presented in “Ventura Skies” could rightly be labeled as a sort of “cosmic country”. It’s all about kicking back and realizing one’s dream to move out to California shores for a life of relaxation, and Lamberth’s way of delivering the song sells it with the seemingly effortless confidence that one would come to expect of a songwriter of his caliber.

Landing on the “Sir Canyon” moniker purely because it “sounded cool”, Lamberth captures the ethereal California lifestyle depicted in “Ventura Skies” to a tee. It wasn’t always clear skies for Lamberth, who only settled on developing this unusual yet homey style of re-working roots music following a romantic breakup and the loss of his father to cancer. With “Ventura Skies” and its incoming album of the same name (2 March), Lamberth is setting out to renew himself and start fresh with a new and exciting musical pathway that’s past his years of joining a band and sharing stages with the likes of Willie Nelson, Brad Paisley, and Katy Perry. With Sir Canyon, Lamberth owns something that’s all his own.

What is “Ventura Skies” about?
The song is more about an idea rather than talking about a place. It’s about moving forward, heading West and starting over again. I used to live above Ventura Blvd and a lot of life happened in that house, mostly good memories but life evolves and we move on. We used to have the best sunsets up there and the skies always looked so amazing as you looked West to the ocean over Ventura Blvd and Ventura the city was about an hour away…

by Baby Robot Media

Earbuddy premieres “Phoenix” by DEGA

DEGA is the husband and wife duo of Kalen and Aslyn Nash. Both have prior experience to DEGA with Kalen involved with New West Records act Poderosa and Aslyn recording two prior albums and also serving as a touring keyboardist and backup singer for Kesha. As a duo, they create music that’s enchanting and dreamy. On February 23rd, they will release their self-titled debut through Lemonade Records. Today, we premiere the album track, “Phoenix”, a very personal song for the duo. Check out what they had to say about it and listen to the track below.

What does your relationship with this one feel like now, as compared to when you initially wrote the song?

Aslyn: My connection with ‘Phoenix’ feels just as strong now as it ever was. The song was initially inspired as we walked the streets of London one night at 2am and a red fox approached us in the streets. We were in Camden, not the English countryside, so it was quite an unusual sighting, at least for us.

Kalen: We took it as a good omen and attempted to follow the fox, but very quickly, he disappeared. Thoughts of his elusive nature are what began the idea for the song.

Aslyn: On a more personal note, later we learned that we were pregnant during that time. We unfortunately suddenly miscarried several months into the pregnancy, just as the excitement and wonder settled in. This song took upon that story for me. Just as the fox came and disappeared, so had this crushing experience.

How exactly does symbolism of the phoenix tie in, here?

Aslyn: I had to create a place in my mind and heart, a place of refuge, to reconcile the sorrowful experience and the feelings of loss. The story of the Phoenix finding renewal of life in the midst of death gave me release. Every time we play that song, I relive the presence and the absence felt amidst that time in our lives. READ MORE…