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Paste Magazine premieres “Peace” from Tómas Doncker & the True Groove All-Stars

Brooklyn’s Tomás Doncker cut his teeth as a guitarist with such genre-busting groups as James Chance & The Contortions, Defunkt, J. Walter Negro & the Loose Jointz and many more, making him a prime mover on New York’s downtown No Wave scene in the early 1980s. Eventually he went international, touring and recording in Japan with jazz pianist Masabumi Kikuchi, and producing studio and songwriting sessions with Bootsy Collins, Yoko Ono and Grammy-nominated reggae vocal group The Itals… READ MORE

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

Watch Blonde Summer’s new music video for “Beer On Ice” at Impose

LA based garage rock act Blonde Summer brings out a good vibes only kind of ethos in their new video for the song “Beer On Ice.” With a lazy beach day as a backdrop, we see frontman Chris Pope mess around with a cast of yetis, robots and gross tv dinners. In “Beer On Ice,” Pope sings about someone he’s clearly attracted to, using equally laid back rhymes and descriptors that talk about “that new hairdo” and “looking nice.”… READ MORE

by Baby Robot Media

Phoebe Nir shares single, “Red Tape Nation” with Verbicide Magazine

Phoebe Nir’s young career as a musician and writer has certainly included some highlights: she has been received at the White House by Barack Obama as a Presidential Scholar of the Arts in Writing, and was nominated for the prestigious Pushcart Prize for Literary Fiction. Her work in musical theater has been showcased in New York City at Joe’s Pub, Feinstein’s 54 Below, and the BMI Lehman Engel Musical Theater Workshop… READ MORE

by Baby Robot Media

Glide Magazine debuts “Some Ol’ Dolls 2017” by Tómas Doncker

Brooklyn soul-funk artist Tomás Doncker may be best known for the decades he has spent playing guitar with “No Wave” pioneers James Chance & The Contortions. Doncker has also worked with legendary acts like Bootsy Collins, Yoko Ono, Madonna, and Bonnie Raitt among other. These days the guitarist and songwriter splits his time between playing with James Chance and leading his own project the True Groove All-Stars. On February 24th Tomás Doncker & The True Groove All-Stars will release the deluxe edition of his acclaimed LP The Mess We Made via his own label, True Groove Records… READ MORE

by Baby Robot Media

Purevolume premieres “Murray’s Hurried Blues” by Radiator King

Brooklyn’s Radiator King is a name that’s more suited for a local hardware shop than a singer/songwriter. Yet Adam Silvestri has a sound that would be at home in the city’s ’60s folk scene or in a Southern honky tonk. His latest song, “Murray’s Hurried Blues” with its swinging folk rock that’s accentuated by a rollicking riff and a mean piano that really cooks. His new album, A Hollow Triumph After All, will blend that folk rock with elements of punk, rock and Americana, with this tune leading the charge… READ MORE

Cousin Dan

In a hail of bullets, everything changed for Cousin Dan. Atlanta’s favorite leopard-print- and mirrored-codpiece-wearing absurdist underground electro-pop genius had been at a secluded bar all night, sending off a lady friend bound for Florida. As he sauntered to his car, a lipstick kiss on each cheek and a slight buzz washing over him, he noticed two figures emerging from the shadows.

“My gut instinct was, ‘This is no good, get the hell out of here.’” As he bolted for the door—pop-pop-pop pop-pop—gunshots rang out into the ATL night. Cousin Dan was hit, but he kept moving. “I’m talking NASCAR pit-crew speed,” he says. “I jump in, lock the door, put my key in the ignition, start the engine, reverse out the parking lot and peel off down the street. The first thing on your mind is, ‘people are trying to kill me,’ you just want to escape. One minute, you’re on your way home to watch some TV, the next minute you’re shot and bleeding.’”

Later, as paramedics strapped him to a gurney, Cousin Dan snapped a selfie and posted it to Instagram. The caption read, “Just got shot, y’all.” “I remember seeing the lights riding in the back of the ambulance and I just started laughing,” he says. “It was surreal.” A bullet went straight through him, in through his back above the hip and out his side. Luckily, there was no major damage and he was released from Grady Hospital the next morning.

When he got home, the revelation came. “I was sitting on the couch, still in my hospital gown, and the gravity of everything hit me—‘If this had been a fatal bullet, and I was dead, I’d be pretty disappointed with what I’d left behind for the world.’ I felt like I had a lot more to offer. That’s where the idea, the spirit of my new single ‘Something in the Water’ came from.”

Bathed in layers of sparkling synths and anchored by a danceable, hypnotic beat, “Something in the Water” is a disarmingly introspective carpe-diem anthem, Cousin Dan’s alluring falsetto delivering the hook with a simultaneously desperate and self-assured urgency: “I’m tired of being lazy / The time is now / Don’t wait until tomorrow.” It’s a sentiment that might come off as maudlin in the wrong hands, but with Cousin Dan it feels damn-near poignant, connecting in large part because—while Dan approaches his music with complete dedication—he never takes himself too seriously. Exhibit A: the song’s hilariously ambitious video, a clip three years in the making.

Directed by Cousin Dan amigo—and “Something in the Water” co-writer—Carl Janes, and featuring a giant matchbook, 50cc dirt-bike gangs, tribal rituals, gold idols, propane blowtorches, jetskis, cowboy hats, topless mermaids, burning pianos and a whole lot of Cousin Dan’s signature leopard print, it’s a journey into the stream-of-consciousness of a truly imaginative artist, all conjured up on a broken-shoestring budget.

“We shot it on zero dollars,” Cousin Dan says. “Maybe some money for pizza here and there, but that’s it. A lot of people lent us their time and skills to make it happen. Just to secure the piano, it took me a year of looking, and then it sat in my garage for a year just waiting to be burned. We did the whole thing bit by bit. Sometimes it would be a few months in between. When you’re trying to figure out the logistics for something like this, you just gotta go with the flow.”

Standing onstage clad in leopard-print tights, blue-jean vest and mirrored codpiece—wind in his hair, portable light-up dancefloor underfoot—Cousin Dan looks like a pop demigod created in a test tube by weird scientists. “Before I started doing Cousin Dan,” he says, “I’d go to shows, and I’d be like, ‘Man, I’m bored. No one is doing anything that’s cool to me.’ So I decided to make the show I wanted to go see.”

At the time, Scoggins had just finished art school, but he was “tired of all that bullshit,” burnt out on the pretentiousness of fine arts and the gallery scene. So he bought himself a drum machine. “I was just having a good time sitting around my apartment making beats,” he says. He became known on the Atlanta scene for his lo-fi DIY Youtube videos and live sets featuring Girl Talk-style mashups. But it wasn’t until he started singing and performing his own songs that crowds really started to respond. “As soon as I got that spark, I was like, ‘Ok, this is where it’s at.’ It felt right. So I became more of a musician and a singer.”

Scoggins is well aware of the kitschy absurdity of the alter-ego he’s created, this hyper-sexualized ‘80s-reminiscent future-spectacle, but he still sees Cousin Dan as an extension of himself. “If he wasn’t, I don’t think it would come off the way it does. Cousin Dan is totally inside of me. It’s just an exaggerated part of my personality. It’s separate, but it also feels like me. And it offers the freedom to do whatever the hell you want, which is liberating. I think that’s another reason people are so drawn to what I do.”

With his anticipated new single and video slated to drop in March, Cousin Dan has recently turned his attention toward completing his first full-length, the working title currently alternating between Ivory Sensations and Cousin Dan… Just Cuz. He’s also been road testing various live-show variations, and has been given a grant to write a space-rock opera. Energized by his brush with death, Scoggins is ready to make his mark.

“Once you hit a certain point, there’s no turning back,” he says. “I’ve been sinking my teeth into things lately, getting more in depth with my process, taking time to perfect the sounds, the beats, testing out different effects. I’ve got a clear vision now. I aspire to make a whole journey with this new record. And I’m ready to get the ‘Something in the Water’ video out into the world, too. It feels good to have set out to do something so ambitious, and to have finally pulled it off.”