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The 405 premieres diNMachine’s new single, “LAGE D’OR”

diNMachine, the experimental pop project of Michael J. Schumacher, is releasing their third album, The Pleasure of Principles, on February 9. Today, The 405 is happy to premiere the first single, ‘L’AGE D’OR’.

The project started in 2012, but Schumacher has long been an active and utterly unpredictable creative force. Trained in classical piano at age five and educated at Juilliard, Schumacher took his talents to New York in the 1980s, becoming part of the experimental scene, where he worked with the likes of Borbetomagus, Charles Curtis, David First, and Elliott Shar. He then started taking on ambitious sound installations projects and exploring the depths of what sound systems are capable of, such as developing a “wavefield synthesis” system in Berlin, comprised of 8000 speakers. Despite all the wires and knobs Schumacher tangles with (and in the case of the former, untangles, no doubts), he’s not looking to alienate.

“My secret intention,” Schumacher says, “Is to make pop music. These songs are informed by a long take on pop and rock history, listening to and absorbing music from the ’60s to the present. It’s not a retro project, I’m not intentionally referencing anyone, but it’s the music that formed me and it’s bound to filter through.”

On ‘L’AGE D’OR’, Schumacher shows a clear understanding of how to balance the melodic with the abrasive. Steady and pleasing loops are mixed with more churning sounds, like a smooth nighttime drive being suddenly interrupted by traffic snarls. Along the way, percussive breakdowns (both acoustic and digital, courtesy of Schumacher’s collaborator Alex Goldberg) and electronic gargling add to the maddening, yet strangely satisfying effect. If you find yourself in bumper-to-bumper traffic, you might want to flip on ‘L’AGE D’OR’ to properly soundtrack your frustrations as you grit your teeth and jab the horn with two densely-packed fists. Alternately, you might just put it on if you’re in the mood for some outstanding electronica. 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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The Vinyl District reviews MERCH’s Amour Bohemian LP

MERCH is headed up by San Franciscan Joe Medina, and Amour Bohemian is the project’s latest album. Best described as ambitious symphonic pop-rock, roughly 65 musicians had their hands in its creation, yet it’s unequivocally an auteur-driven work, and one that thrives on discipline. Even more so, it benefits from concision; a whole lot of new music is getting pressed onto vinyl these days, but little of it radiates like a nugget from the heyday of the long-playing record quite like this specimen, while still connecting as contemporary. Buyers will surely load these nine songs onto their devices, and they work well in that context. However, this one sounds best in the listening room. It’s out now through Sassafras Records.

When I first glimpsed the sleeve of MERCH’s 2012 LP This Betrayal Will Be Our End, I did a double take, for that album’s cover photo and the snapshot adorning the jacket for Undercurrent, the classic 1962 duo set from pianist Bill Evans and guitarist Jim Hall, are one and the same. The gesture immediately registered as homage, but even as jazz fits into Joe Medina’s teeming bag of influences, soaking up the record drove home my assumption as off-target.

Before its usage by United Artists for the Evans/ Hall disc, Toni Frissell’s photograph, Weeki Wachee Spring, Florida was well-known, appearing in Harper’s Bazaar in ’47 and Sports Illustrated in ’55. For Undercurrent, the image is eerie but tranquil; when the sharp black & white is combined with Medina’s album title and songs, the mood becomes considerably more noir, adding a distinctively dark spin to what’s been categorized as a breakup record.

This Betrayal Will Be Our End isn’t MERCH’s debut, but even as nothing the outfit released prior appears to be easily obtainable, the album still strikes the ear as a major artistic stride, and as such, presented a difficult act to follow. But through the participation of the Prague FILMharmonic Orchestra, a Latin jazz band, opera singers, and a rack of psych, garage, and jazz players out of San Fran and L.A., Medina has pulled it off.

The new record’s cover is also illustrative, featuring a photo of the artist in profile, unfussily denoting that the boldness of its contents is ultimately attributable to one human focal point. This design choice enhances the “classic” aura, harkening back to an era when a pop auteur’s likeness was readily used as a selling point. But for all this, opener “Don’t Wait Too Long” makes abundantly clear that Amour Bohemian is a byproduct of the moment.

The song’s raucous flights of hard rock bombast intertwine with an assertive arrangement for strings, and Medina’s vocals move from upper-register soulfulness to deeper singer-songwriter-ish candor to assured pop-rock frontman swaggering, all without a snag. Structurally audacious and full of surprises (it feels like a spoiler to spell out the finest twist), the whole also profits from a palpable sense of control as it leads into the decidedly ELO-ish strings and sophisto guy-gal vocal tradeoff that’s “Artist & the Muse.”

Medina clearly loves his crooners, and a photo capturing him in a blue blazer holding a flaming rose in his clenched teeth could possibly trigger thoughts of retro caricature, but thankfully that doesn’t come to pass; if playful, the music here is ultimately quite serious, nowhere more so than in the lyrics, which are strong enough that printing them wasn’t a bad idea.

“Two Hearts” merges ’60s-style orchestral production-pop with Medina’s mildly Scott Walker-esque delivery, and the flourishes of Spanish horns and the burst of hard rock guitar help to secure the cut’s success. But perhaps the crucial aspect is a string arrangement that’s not just bright and limber but robust as it delivers some unexpected woody tone passages.

“Marriage” might initially saunter too brazenly into ’60s AOR gestures for my taste, but I also can’t deny that the musical execution, which includes choral swells, Hawaiian pedal steel, and low register reeds (I’m thinking bass clarinet) elevate matters far above pastiche. This scenario extends into the big-band-ish vocal pop landscape of “The Only Love I Understand,” though a large dose of fuzz guitar and a full-on wailing arena rock solo undercuts the sunshiny tendencies of “According to the Doctors” without coming off as a stylistic subversion.

With “Ten Quetzales,” the album dishes an extended highlight in the homestretch, reinforcing the knack for large-scaled arranging that’s likely to please fans of Nelson Riddle, but with naturally flowing eccentricities and again, modern flair, that continues to set matters apart. “The Wine Will Flow” reduces the sweep (if not the length) somewhat, though its lounge-tinged ambition eventually bursts into jazziness; “Pinewood & Roses” spotlights those opera singers in a tidier serving of cinematic imagery and guitar strum that ends the LP on a high note.

The contents might not bask upon a single high plateau throughout, but neither do they crater, and the strongest selections bookend the runtime. For all its grandness, the record isn’t strained, and neither does Medina seem creatively spent. This bodes well for future MERCH developments, but anyone interested in the possibilities of symphonic pop and classically-minded songwriting shouldn’t sleep on Amour Bohemian.

GRADED ON A CURVE:
A-

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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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Glide Magazine premieres Dallas Moore’s single “Somewhere Between Bridges”

Glide is proud to premiere “Somewhere Between Bridges” off Mr. Honky Tonk, a twangy anthem that remains right in the pocket and sinfully soulful. While names like Sturgill and Stapleton have been getting their Americana due, Moore delivers an authentic charisma that makes his brand ideal to be a critics’ favorite.

“Somewhere Between Bridges” is the only tune on the new album that I didn’t write,” recalls Moore. “It was penned by my friends Taylor Craven and Bo Roberts. Taylor and I were swapping songs in a round together at the Road To 3rd Street Music Festival in Morgan City, Louisiana. Our set was just before BMI icon Dean Dillon was to perform and we were all pulling out our best songs trying to top one another. When Taylor played “Bridges” I remembered hearing Bo play it earlier in the year at the Florabama. I fell in love with the song and bumped one of my own to get it cut on this album. It’s a simple, classic country song that I think just about everyone can relate to. When we got into the studio with Dean Miller producing, it came together really fast and we nailed it on the first take!”

 

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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Ghettoblaster Premieres Lily DeTaeye’s “Carnegie”

Des Moines, Iowa-based indie-pop singer/songwriter Lily DeTaeye is only 19-years-old, but DeTaeye has already shared bills with The Decemberists, The Shins, Chicano Batman and more. She’s also gearing up to release her new aptly-titled EP, The E.P., on November 17 via Station 1 Records.

The EP is a four-track collection of piano-driven indie-pop that finds DeTaeye exploring heartbreak, sexual assault, victim blaming culture and more. These are issues all-too-common on her college campus at the University of Iowa. 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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NYLON Premieres Wons Phreely’s “The Night Has An Alibi.”

Musician Wons Phreely grew up in Perth, Australia, a coastal town which houses a thriving mining industry but little in the way of an artistic subculture. Once he got the chance, he traded in his hometown for the more creative L.A., where he moved with the help of an “Extraordinary Artist” visa. That has proven to be a very fitting description for him, considering we can’t get enough of his music here at NYLON. 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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New Noise Magazine Premieres Wanderwild’s “In Due Time”

We’re pleased to bring you the premiere of Wanderwild’s new song “In Due Time” (listen below). The track is taken from the band’s forthcoming album by the same name, which is scheduled to be released on November 17th. You can purchase the album here. 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.