Baby Robot Media

Search Results for: Девятаев—Девятаев фильмы которые уже вышли фильм тут >>bit.ly/devataev-film-2021

by

Listen: State of the Art Spotify playlist for 7/27/20

State of the Art Spotify playlist weekly baby robot media brm indie hip hop electro pop punk rap metal folk

Listen to this week’s State of the Art Spotify playlist featuring:
Left At London, Nobi – Do You See Us?
the go! team – Cookie Scene
Radiator King – Madame Marie
PJ Harvey – Down By The Water – Demo
JAMS The Flava Child – 1 A.M. – Live
Whitney – Hammond Song
Epic Levels – Leviathan
An Albatross – Mort Bleu
Music Band – Members Bounce
White Reaper – Real Long Time – At Home
nav/attack, G13, ATKCMD – Future Hole
No Age – Sandalwood
North By North – Get Weird
The Pedaljets – Transfer Is Done
Rozwell Kid, Sleeping Bag – Absolutely
Lupe Fiasco, Virgil Abloh – SHOES
IAN SWEET – Sword
Aseitas – Scalded 
C Plus, Beejus – Big Shit
Early Adopted – Sea of Trees
Zeroh – Hydro
Finntroll – Ormfolk
U.S. Maple – Stuck
Bob Mould – Forecast of Rain
The Lawrence Arms – Dead Man’s Coat
Jerskin Fendrix – A Star is Born
Malena Zavala – Memories Gone
Ensiferum – Rum, Women, Victory 
BOYO – Tough Kid
Hanni El Khatib – STRESSY
Brendan Eder Ensemble, Colleen Green, Veronica Bianqui – The Spirit of (Radio Edit)
BLOO, Spanish Ran – Cain Marko (MF Bloo)
Bravo the Bagchaser, Memothemafioso – Shells Dropin’
Bub Styles – Bookie Notes
Skullcrusher- Places/Plans
altopalo – honey
Hotel Lux – Eddie’s Gaff
Shabazz Palaces, Purple Tape Nate – Fast Learner

Or check out the YouTube Playlist:

by

DittyTV’s Rhythm Roots set to debut Neon Moon’s new music video for “Dive Bar Romance”

neon moon music country americana dive bar romance music video new

DittyTV’s Rhythm Roots is debuting Neon Moon’s new music video for “Dive Bar Romance” today (July 27th) at 7PM/CT with a rebroadcast tomorrow (July 28th) at 7AM/CT.

Inspired in large part by Noelle & Josh Bohannon’s days spent hanging at legendary Nashville hole-in-the-wall Dino’s, the steel guitar on “Dive Bar Romance” drifts in like smoke from a tavern ashtray, before some blessedly drunken mariachi horns stumble through the door. This is tropi-Americana, fresh-squeezed, with plenty of pulp and a shot to ease the hangover’s edge.

In gorgeously saturated hues, the music video depicts falling in love both with a bar, and in a bar. It’s a perfect pool/beach-side drinking song for summer.

Check out the teaser here, and don’t forget to tune in!

E.Z. Shakes

 

FACEBOOK|INSTAGRAM|BANDCAMP|WEBSITE

E.Z. Shakes – The Spirit

Years before forming E.Z. Shakes, Zach Seibert grew up in small-town Illinois, raised on the sounds of heartland rock & roll, hard-hitting punk, and old-school country/gospel music. His parents were hippie Christians who bounced from church to church, searching for a congregation that suited their family’s countercultural ideals. The experience left a mark on Seibert, who developed an appetite for diversity — in art, life, faith, and beyond — that he’d later put to use as E.Z. Shakes’ raspy-voiced, genre-defying, storytelling frontman.  

Over the course of two EPs and a pair of full-length albums, E.Z. Shakes have become one of South Carolina’s most acclaimed musical exports — a band of amplified roots-rockers whose regional acclaim is steadily turning into a bigger, bolder movement. Their songs are grounded in epic Americana twang and dressed up with layers of shoegazing shimmer, swooning pedal steel, atmospheric guitars, and rolling reverb. It’s a sound that’s as wide-ranging as the group’s own resume, with Seibert (vocals, guitar), Todd T. Hicks (pedal steel), John Furr (electric guitar), Stanford Gardner (percussion), and Jim Taylor (bass guitar) all cutting their teeth in other Carolina-based acts before banding together. [“I’m playing with a bunch of guys who are South Carolina all-stars,”says Seibert, who settled in the Palmetto State after stints in Illinois, New Orleans, Florida, and Virginia… and quickly earned his own share of local esteem by logging time in acts like Due East and Hardtack.] Collectively, they’re far greater than the sum of their parts, turning Seibert’s folk songs — autobiographical tunes that explore the human condition, written by a man who’s unafraid to shine a light on the demons haunting his own closet — into dark, moody anthems that are honest enough for the bar and dynamic enough for the arena. 

Produced in-house by Furr, The Spirit marks E.Z. Shakes’ dreamiest, darkest, and most driving work to date. What began taking shape as an acoustic duo in 2017 — the year Seibert first teamed up with Hicks, looking to pair his own left-of-center country songwriting with Hick’s spacey pedal steel — has since turned into a cinematic band, its sound rooted in the stomp and swagger of five musicians who’ve all made unique marks upon the fertile music community of Columbia, South Carolina. The Spirit nods to those Carolina roots, with the band recruiting local hero Mitch Easter (the producer of seminal albums by R.E.M. and Pavement) to mix the album at his Fidelitorium studio. At its heart, though, The Spirit is an album that creates its own geography, swirling together a musical map of holy-roller Bible Belt storytelling, heartland hooks, big-city bombast, and southern roots music.

“A storm is coming…I suggest you hit your knees, boy, ’cause it ain’t no joke — He’s coming again,” Seibert warns during the album’s title track, one of several songs to pair E.Z. Shakes’ slow-burning country-rock attack with the imagery and ideals of his spiritual upbringing. Much of The Spirit finds the frontman making sense of his past and present worlds, with songs that deal with the absence of loved ones (“Thirteen,” written in honor of his late father), the small towns he’s left behind in the rear-view mirror (“Grove Street”), the search for truth during confusing times (“We Want Answers”), the faith that’s kept him grounded (“Making Mistakes”), and the vices that once threatened to derail his path (“Killing Time”). His vocals — raw, rough-hewn, and as sincere as his lyrics — provide the songs’ earthy bedrock, while his bandmates add their own brand of guitar-heavy grandeur to the mix, turning tracks like “The Rileys” and “The Pretender” into sonic swirls of hooks, harmonies, and fiery fretwork.

You can take the boy out of the midwestern church, but you can’t take the midwestern church out of the boy. Decades after attending Sunday morning services with his parents, Seibert is still grappling with the intersection of his faith, the past missteps he’s struggling to leave behind, and the new horizons he’s hoping to chase down. The Spirit is the story of that journey. It’s an album about yearning — about struggling to grasp hold of something intangible, just like the hands that reach skyward on the album’s hand-drawn cover. Even those who’ve never set foot inside a house of worship can understand that human struggle to make sense of it all. The Spirit doesn’t provide any easy answers; instead, it offers up a soundtrack to one man’s search, shot through with enough electrified soundscapes, psych-country highlights, and atmospheric anthems to lure in any listener. 

“My upbringing played a monumental role in my life,” says Seibert. “If I’m going to be honest as an artist, it’s hard to separate those personal experiences from my art. But I’m not out to proselytize anyone. These are personal stories. Hopefully, people can find some sort of hope in them.”

The Spirit is due out 10/9 via Pow Pow Sound.

Joe Stamm Band

FACEBOOK|TWITTER|INSTAGRAM|YOUTUBE|WEBSITE

Joe Stamm Band – The Good & The Crooked (& The High & The Horny)

The Joe Stamm Band makes countrified roots-rock with an emphasis on the roots, drawing on Stamm‘s small-town upbringing in rural Illinois for a sound that blends heartland hooks with Nashville twang. It’s a sound that’s taken the songwriter from the college apartment where he strummed his first chords to venues beyond the Midwest, sharing shows with personal heroes like Kris Kristofferson and Chris Knight along the way. With his debut studio LP, The Good & The Crooked (& The High & The Horny), Stamm begins building his own legacy, leading his band of road warriors through an album rooted in all-American storytelling and guitar-driven swagger.

Recorded in a converted barn outside of Iowa City, The Good & The Crooked (& The High & The Horny) is a studio album that owes its electrified energy to Stamm‘s live show. It was there — onstage, guitar in hand, headlining a club in Peoria one night and playing with artists like Tyler Childers and Easton Corbin the next — that Stamm sharpened the edges of his self-described “black dirt music,” rolling Americana, country, and blue-collar rock & roll influences into his own style. Some songs were autobiographical, spinning true-life stories of love, loss, and life in Middle America. Others, like the barn-burning “12 Gauge Storyline,” were character-driven and fictional. Whittled into sharp shape by a touring schedule that kept Stamm and company on the road for as many as 150 days a year, those songs took new shape in the recording studio, shot through with amplified riffs, grooves, and arrangements that rolled just as hard as they rocked. 

Fiction and autobiography come together on the album’s title track, a coming-of-age anthem that finds Stamm writing about the humor, heartache, charm, and chaos of youth in America. 

“Everyone falls into at least one — and usually several — of those categories,” he says of “The Good & The Crooked (& The High & The Horny).” “That song really captured a sense of things, a sense of people, and a sense of what it’s like to grow up in America.”

For Stamm, growing up in America involved a good amount of time on the football field. A teenage quarterback in a sports-obsessed town, he led his high school team to back-to-back state appearances, becoming a local celebrity along the way. When an injury brought his sports career to an end during his college years, though, Stamm found a new passion in music, diving into the work not only of classic country crooners like George Jones and Johnny Cash, but also the modern-day heavyweights of Texas’ country scene, including Randy Rogers Band, Pat Green, and Reckless Kelly. Before long, he was writing his own songs — and just like his favorite Texas artists, he rooted his music in a strong sense of place, bringing a midwestern spirit to his own brand of country music. Stamm was soon packing venues across central Illinois, trading the athletic fame of his teenage years for an equally rewarding — and longer lasting — brand of recognition.

“I like writing about characters and coming up with stories,” says Stamm, whose diverse past — including his time in an evangelical Christian household, his athletic days behind the line of scrimmage, and his creative rebirth as country music’s newest rule-breaker — is woven throughout The Good & The Crooked (& The High & The Horny), lending personal details to even the most fictional of songs. “Songwriting is where experience and imagination meet,” he adds, “and each song finds a different spot on that spectrum.”

With The Good & The Crooked (& The High & The Horny), the spectrum is as wide as it is compelling, with Stamm roping together a range of honky-tonk hooks, rock & roll guitars, heartland twang, and country swagger. He’s a songwriter. A bandleader. A storyteller. And while he’ll always be a proud midwestern native — a man shaped by the creek bottoms, fields, and fence rows of Metamora, Illinois — he writes from a more universal perspective on his full-length studio debut. These aren’t just his stories, after all. They’re all of ours.
 
Joe Stamm Band’s The Good & the Crooked (& The High & the Horny) is due out September 25.

Left At London

FACEBOOK | INSTAGRAM | TWITTER | WEBSITE

Nat Puff makes music like a flower gives off scent: as the natural, seemingly endless byproduct of her personal growth, her artistic unfurling, her creative beauty. She started writing original songs in grade school, and shows no signs of stopping anytime soon. In 2018 alone, the 24-year old singer-songwriter behind Seattle-based Left at London released two albums, The Purple Heart and Transgender Street Legend Vol. 1, both of which showcase her one-of-a-kind voice as it ricochets effortlessly from full-throated R&B ecstasy to plastic-elastic 90’s punk-pop, to a sound that’s all her own, like honey dripping down the walls of an electronic beat. “I feel like a very scattered artist, she confesses, “but in like a good way.” 
 
Puff’s latest release, Transgender Street Legend Vol. 2, has been on her mind for a while. “I wanted it to be a series,” she says, “and then the success of the first cd really encouraged me to start working on the second one.” With this album, Puff largely shrugs off the tongue-in-cheek lyrical style of her previous work. Despite the fact that some of her earliest moments of widespread recognition came as the result of her viral parody videos, she clarifies that “comedy hasn’t really influenced this project in any real sense,” mostly because at this moment in history, as she says quoting Twitter, “Ain’t shit funny.”
 
Rather than make light of the world around her, Puff smolders from within on this album, accessing deep political outrage and personal pain as fuel for her various musical fires. The opening song, “Do You See Us?” functions as a diss track aimed at the mayor of Seattle, Puff’s hometown. “I fucking despise her,” Puff says in no uncertain terms. “She gassed her own citizens on Pride.”
 
Puff isn’t shy about speaking her truth, and her latest album is marked by an unapologetically confessional understanding of self, as she sings candidly and with confidence about bad breakups, lingering trauma, and mental health. In the closing number, “My Friends Are Kinda Strange,” she proposes and then celebrates a long-awaited coming-together of her inner and outer lives. “I have OSDD, so I have some people up in this brain that I didn’t know a couple years ago,” she jokes. “I thought it was cute to refer to them as my friends, and the more I wrote the chorus, the more I was like, this also applies to my IRL trans friends, because people sort of see us as strange and…they’re both important parts of my life.” Transgender Street Legend Vol. 2 brings together a number of other friends and collaborators who helped shape the album’s final sound, including Seattle hip-hop artist Nobi, and electronic music producers Chuck Sutton and Dylan Brady.
 
In composing her new album, Puff reached backwards in time through her own archives, poaching beats, repurposing loops, taking verses from one unreleased song and placing them within the context of another. “‘T-shirt’ is a really interesting track,” she explains, “because the latter half of the chorus I actually came up with in high school.” She rattles off a number of other artists and songs that influenced the sound she was after (“Blue Ocean Floor” by Justin Timberlake, “Strawberry Swing” by Coldplay, “Biking” by Frank Ocean), and then explains that “…those songs are on a playlist on my phone called Auriem, which is a made-up word to describe this dreamlike feeling that I used to get…where there’s this intense feeling of beauty, like beautiful melancholy, and I really wanted ‘T-shirt’ to capture that feeling.”
 
To say that Left at London’s music captures intense feelings of melancholic beauty is the understatement of the century. But her artistic genius isn’t purely introspective or downbeat. It’s joyous, angry, proud, defiant, unwavering, and endlessly danceable. Unstoppable force of creative energy that she is, Puff is weathering the pandemic playing concerts via live stream. In her new track “Safety First,” Puff repeats the phrase, “I don’t have energy anymore,” but if her prolific output is any indication, she’s got the strength to keep making music for a long time to come.
 
 
“[A] magical talent.” – Dazed Digital
 
“Left at London has perfected the art of going viral.” – Vice
 
“A fixture of internet culture.” – Forbes
 
“Personal…[Puff] croons over a funky guitar riff that the world is getting better.” – Billboard
 
“Upbeat political pop.” – KEXP