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Village Voice feature Beechwood and their “darkly shimmering rock n’ roll”

Beechwood’s Gordon Lawrence, 24, looking not unlike a young Thurston Moore, hair covered by a plaid cap, sits with his bandmates in a back booth of stalwart East Village bar 2A. They’re directly above cool-kid underground venue Berlin, where, a few weeks prior, Beechwood held an album release for their debut LP, Songs From the Land of Nod (Alive/Naturalsound Records), a darkly shimmering rock ’n’ roll record of bruising timelessness.

Drummer/vocalist Isa Tineo, 25, a dark beanie obscuring his head/face tattoos, perches on a stool. His visual counterpoint is Beechwood’s newest, member Sid Simons, 21. The bassist’s blond shag is straight off a Sweet album cover, and his faint Australian accent and easy demeanor make him an effective foil for his more formidable-seeming Jersey-bred bandmates.

The allure of Beechwood’s powerful onstage rock star insouciance — which is only somewhat less pronounced offstage — can come across as slightly studied, an assertion the band contests, bolstering the denial with tales of their shambolic misspent youths. But at least they’re studying the right bands. Over two-for-one happy hour beers, the trio share teen tales of skateboarding over the George Washington Bridge to see bands in Manhattan; then, a few years later, being escorted out of Arlene’s Grocery during one of their own gigs (“We started rolling around, and things got knocked over, broken. We were just younger. Honest aggression. We’re more composed now”); and various other angst- and substance-fueled shenanigans.

While Beechwood exude an honest cool that can’t be bought, any hipster factor is shattered when Tineo leans into the tape recorder and shouts: “We’re going to take over the fucking world!” 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.

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Pop Matters Premieres: Charlie Overbey’s “Slip Away”

Charlie Overbey
Charlie Overbey

Growing up listening to the likes of Johnny Cash and Tom Petty, Charlie Overbeybrings grassy rock ‘n’ roll to the table that’s reminiscent of the music of his inspirations. Lynwood might not be the first place one might expect to raise an alt-country career from the earth, but Overbey’s career has grown out of rocking the Southern California circuit with his outlaw grit. Blossoming from there, the Americana artist has garnered fans across the country who are looking forward to the release of his forthcoming album, Broken Arrow, on 20 April.

Performing with Miranda Lee Richards, “Slip Away” is the latest single from off of the incoming LP. It’s a poignant, dark-laced number in which Overbey bears his whole heart, dedicating his emotional duet to a departed friend. The song’s gentle sway lets listeners slip into its powerful performance easy as Overbey and Richards’ emotive delivery gains steam as the arrangement runs its course. Richards’ warm whiskey vocals pair perfectly with Overbey’s grit, taking the piece to stirring new heights.

Overbey tells PopMatters, ‘”Slip Away’ was written directly following the loss of someone in my deep inner circle that was ruled to be an accident but to me seemed a suicide. I tend to like to leave things to the imagination and incorporate, especially in dark times elements of hope. I did not feel the need to mention suicide—nobody needs to be thinking about or even reminded that this is an option.”

“I do think that in times of despair, people tend to find warmth in darkness, which is a trick of the mind as referred to in my favorite line in the song: “And then you gimme’ that look / yeah you gimme that look, like you’re never comin’ back again / like you’ve crawled down into a deep dark hole / and it’s warm like the house of a friend.”

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Punknews premieres “No Loyalty” by Slut Magic

Today, Punknews is pleased to debut the new track by Slut Magic.

“No Loyalty” is a grimy, lo-fi smasher that walks the line between 80s vintage hardcore and wild garage rock. This is dark and mean.

Speaking to Punknews about the track, vocalist Emma Sky said, “Slut Magic is really into living freely, fucking freely, and loving freely. So, we decided that you can’t be free and loyal at the same time. You can’t love and be loyal at the same time. If you’re loyal, then your choice is already made. Even if you don’t like that choice! Freedom and love require openness to being hurt. No conditions. So we just wrote a song about all these institutional transactions dressed up as love: fraternity, patriotism, monogamy, even some friendships—they’re all based on conditional giving and taking, or caring about something to the exclusion of another thing. That’s no way to live. Like, if you’re gonna come to our show because you feel obligated, just stay home. We only want enthusiasm.” 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.

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Planet Mosh reviews Cheap Tissue’s new record

Garage Punk ‘n’ Roll band Cheap Tissue from Los Angeles, released their self titled debut album earlier this month via Lolipop! Records. Founded in 2015 when Andrew Taylor and Jesse Youngblood got together and decided to write songs, which they felt, most people wouldn’t like very much! They were soon joined by John Tyree and drummer Matt Spizer thus the three pronged vocal attack which is Cheap Tissue came into being. Those who like to pigeon hole their music into categories may call them garage-punk/rock ‘n’ roll. According to their story here  “they prefer being referred to as a very small, extremely sub-par orchestra with no conductor and the tendency to play songs at whatever tempo they feel like.” That sounds good to me, and when I read that they had played alongside one of my favourite bands Slaughter and the Dogs they sounded even better! Do they live up to expectations? 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.

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Wide Open Country premieres Midnight Larks’ Southern murder-ballad “Summer of the Preacher”

midnight larks atlanta garage psych

Beyond the less-country-than-Western opening track “Gunfighter,” Midnight Larks’ self-titled debut album is way more rock than roots. But on second listen, one of the fastest driving examples of garage-punk owes a debt of gratitude to Southern folkways.

The song in question, “Summer of the Preacher,” finds guitarist and vocalist Nikki Speake sharing the surreal true story of a family friend from Dadeville, Ala. 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.

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B-Sides and Badlands Reviews Ross Cooper’s “I Rode the Wild Horses”

Ross Cooper
Ross Cooper

“So, it’s been my lot for many years / To have worked for some of the best / Of these men who may be a ‘dying breed’ / yet have not shirked the test,” self-proclaimed “Packsaddle Poet” Chris Isaacs writesabout “The Dying Breed” of cowboys and cattle wranglers in one of his best-known works. Rooted in a life-long career as a working cowboy, a packer, a horseshoer, a day-work cowboy and a rodeo cowboy, Isaacs, three-time winner of the Academy of Western Artists “Will Rogers” Award, approaches storytelling with great discernment, depicting the heart and humor of the cowboy way of life. He then parades his admiration for those “who have not knuckled under / Or sold out to the corporate dragon / Who’ve held the ranch together and still ride out with the wagon.” It’s a teary, sun-parched passage which carries with it tremendous sorrow but hope for tomorrow.

Ross Cooper‘s third record, the ragged and dusty I Rode the Wild Horses, fits quite snugly next to such a refined and perceptive wordsmith. Coincidentally, Cooper was born and bred in a rodeo family himself and spent many years as a bronco rider, and he assembles those experiences into one hearty, western-styled, spitfire record, frequenting open ranges, rodeo corrals and tucked-away honky-tonk bar tops. He’s a son of the road, wearing that distinction in sheepish braggadocio on his jacket. His cowboy hat sits cocked on his head, but he’s not arrogant; he’s simply stating truths as they are. “The old stomping grounds are all stomped out for all the slow-rolling tumbleweeds,” he paints nonchalantly on opener and titular cut, the jangle of drums and guitar clinking in the dust at his feet. Cooper’s illustrations are as easy as they are lush and cinematic, merging traditional, campfire cowboy music, tales of wily temptations, swift heartbreaks and feeble recoveries, with ingenious modernisms. “Heart Attacks” boils savagely, leading into the twinkling neo-traditionalism of “Old Crow Whiskey and a Cornbread Moon,” an earthed gemstone which could have been first chiseled in the late ’80s but lost to time and the fleeting harvests.

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