Baby Robot Media

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

by

Imperfect Fifth features Nick Dittmeier & The Sawdusters

Nick Dittmeier & the Saw Dusters

A lifelong resident of Jeffersonville, IN, Nick Dittmeier finds a needed reprieve from the looming presence of loss in his life with his new record All Damn Day (due October 26th). Fronting Nick Dittmeier & the Sawdusters, the singer-songwriter lingers on the omniscient Grim Reaper in a way that’s hopeful and uplifting as it is forlorn, harkening to the works of such literary giants as John Steinbeck, Ernest Hemingway, Roald Dahl and Mark Twain. Read Dittmeier‘s story on his first musical influence below:……READ MORE

 

by

Vents Magazine interviews Mad Crush

Can you talk to us more about your latest single “Time For A Love Song?” Did any event in particular inspire you to write this song?

The big idea behind our band Mad Crush is of an ongoing dialogue between two people who may or may not have the guts to give themselves over to love — they’re adults, so of course they’ve been burned and they know the price they might pay. In “Time For a Love Song?” I’m in selling mode, really trying to convince Joanna that the sky is the limit if she’ll go with her feelings. Her spoken lines are meant to undercut my enthusiasm, but also to leave a little room for the possibility. If you listen carefully, she nails that delivery. I also like that at the halfway point the key changes and the script flips — she starts to see that I might have a point…..READ MORE

Dominique Pruitt

 

Website * Facebook * Twitter * Instagram

 

 

 

Aspiring to grandiose dreams of a career in music at a young age, Dominique Pruitt was caught in a cycle that so many teenagers fall into–struggling to map out the road to success. She often waxed romantic about the sprawling, twinkling landscape of Los Angeles and dreamt of the day she could ride off into the sunset. The San Fernando Valley lies only 30 minutes away, but it felt more like a hundred miles.

Born into a musical legacy — her father Larry Brown once played in The Association and Smothers Brothers before joining Engelbert Humperdinck in the ‘80s, where he met and forged a romantic relationship with her mother, singer Anne-Marie Brown (The Babys, Jon Waite) — Pruitt embarks on her own with a comeback singled called “High in the Valley.” From the Nancy Sinatra-smattered jingle to fusing rockabilly with the pop styles of the ‘40s, ‘50s and ‘60s, Pruitt pays homage to the sounds of her youth while paving her own singular and refreshing path forward.

The song snarls and winds its way through the smoke of neon lights, transportive but modern. It’s her first bit of music in five years and shows remarkable growth, owed in large part to just living a life worth living. It’s that kind of exposure to reality that breeds singers and songwriters with something worthwhile to say. “Closest that I’ve ever been to God is a Bible on a nightstand at an old roadside motel,” she paints, drawing a parallel to her youth and upbringing that lacked a religious direction.

“I had written down that song title a few years ago. It was such a part of me at one point to feel like I was trapped in this hopelessness of being so close to what you want in a way but so far away,” she says of the song, written with Jasmine Ash, Joseph Holiday and Kenny Fleetwood. Amidst the flecks of cracked motel paint and peeling wallpaper, Pruitt finds herself plucked down in a Spaghetti Western.

She didn’t come to fully realize music was her destiny until her teen years. “It scared the shit out of me,” she confesses with a chuckle. Having been surrounded with her parents’ music and a well of musician and songwriter friends, Pruitt felt the pressure to lead the same lifestyle. She began singing out at 18 or 19, and it was evident the stage never felt more like home to her. The spotlights bearing down on her sequined costumes and larger-than-life presentation, she fully flies free.

Pruitt recorded some three demos of her father’s old songs in 2009, and in 2011 her music fell into the right hands and she was ultimately signed to Merovee Records. Her Dave Darling (Tom Waits, Brian Setzer)-produced EP called To Win Your Love arrived in 2013, and while she had her debut full-length all ready to go after working with Darling, things didn’t exactly feel right anymore, and the record was shelved. The label went belly up soon after, and she was left wandering around to find her next moves.

With space and time to breathe, Pruitt is more energized than ever these days. “High in the Valley” is a smokey concoction of forlorn spirits caught in grungy dive bars in nowhere middle America, the dust of the open road crawling along the floor and the neons piercing the crowd’s dilated pupils. Her spirit and heart are on full display, culled together with remarkable musical depth. “I love Wanda Jackson,” she says. “I went head over heels the first time I heard her.”

“I saw the movie Cry Baby when I was nine years old, and it shaped the form of my life,” she remarks on one her earliest influences. This love for and inspiration from all things vintage are readily apparent when you see her live. “That’s something important. I want to put on a show with a spectacle,” she says, citing how the movie Gypsy, starring Natalie Wood and Rosalind Russell, carries an equally indelible impact. Pruitt evokes imagery of vintage showgirls and the mystique of burlesque into her music and performances, beckoning the listener and concertgoer into a world long gone.

The accompanying visual, directed by Dana Boulos and styled by Shana Anderson, is inspired by fame French photographer Guy Bourdin. The aesthetic is classic without being pretentious, accessible but universal, colorful but not overexposed. Pruitt’s vocal is sly as a cobra whose venomous itch unleashes utter bedlam on an unsuspecting audience.

The singer is currently working on new music, expected soon on the heels of “High in the Valley”.

“Pruitt confidently struts between the realms of Americana and vintage pop.” – PopMatters

“Somewhere between Nicole Atkins, Jessie Baylin and the True Blood soundtrack.” – Rolling Stone

“Features everything you could ask for from the place that put the “Western” in Country and Western: steel guitar, reverb, spooky backing vocals, and that woodblock sound from all the cowboy soundtracks.” – Glorious Noise

“One of the most impressive lyrical tracks I’ve heard all year…From irony to just outright cleverness, it’s about the depths of sin and human identity but doesn’t feel preachy at all.” – Ear to the Ground

“A heavenly strip of music that worms through the noise of today’s music scene.” – B-Sides & Badlands

Publicist: Rachel Hurley

“For an independent artist, it can be scary investing in PR- but it’s also a crucial cog in the music machine! Baby Robot Media and Rachel Hurley, in particular, made the investment worth every damn penny. They truly kicked ass on my campaign and got me some killer press. Rachel was easy as pie to communicate with, quick to respond to everything, and made me feel supported EVERY step of the way. If I had to sum up my experience with Rachel it would be “above and beyond”!” – Dominique Pruitt

by

Rock and Roll Globe talks”B is for Beer: The Musical”

Back in the glory days of musical theater, the topics of choice made a lot of sense. There was Camelot, based around the legend of King Arthur. Carousel was about the attraction of an old time country fair.Oklahoma focused on…well, Oklahoma, while South Pacific dwelled on… that’s right, the South Pacific. And West Side Story… well suffice it to say it told the story of desperate young lovers torn between two gangs of street toughs vying for control of the city streets.

Actually, we could be talking a new and revised version of Chicago. (Sorry, Chicagoans)

The point is, musicals were inspired by grand themes, widescreen spectaculars with soundtracks that spawned popular songs which were forever part of the popular musical vernacular.

These days, however, with the rare exception of Hamilton, the modern musical rarely contributes to the conscience of the mass marketplace, and it really hasn’t on a grand scale since the early ‘60s. Granted, Broadway shows like Phantom of the Opera, Rent, A Chorus Line, and Annie did boast a memorable hit or two, but for the most part, the days of musicals boasting a veritable hit parade that courted mass appeal have long since passed. Likewise, the soaring storybook premises have become somewhat predictable and inconsequential. Consequently, Broadway gobbles up a show like Cats…which is…about Cats. Starlight Expressrevolved around skating. And Chess? Well, one presumes it’s about the intellectual version of checkers…..READ MORE

by

Americana UK premieres Mad Crush’s new song “Northern Lights”

‘Northern Lights‘ is the debut single from Mad Crush’s new album of the same name which is out on  November 16th.  It’s a dreamy folk ballad about loneliness and loss, and is songwriter John Elderkin’s attempt to capture the essence of loneliness, and draws inspiration from every story of disappointment that he could recall.  As he says “some friends of mine had a lively conversation about times when they’d been let down, and all kinds of funny examples came up, like ordering x-ray glasses as a kid only to find that they didn’t actually let you see through people’s clothing. One of the heavy examples came from a friend who’d gone to Scotland to see the Northern Lights but they didn’t really show up, and when they did, they were underwhelming because of the weather (as I recall). That really stuck with me, and the idea came back as I was trying to write about a person as lonely as I could make up. Sometimes I set writing tasks for myself like that, to maintain focus or simply to see what turns up. I didn’t want to figure out why this person was lonely, only to describe her aloneness. For whatever reason, the Northern Lights story came to mind, and when I tweaked the story to be about a person watching the Northern Lights by themselves, that did the trick. Then I could throw myself deep into the song. All of which is to say, this song is about how we keep on going, even when we’re really hurting.“…….READ MORE