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

Kat Myers & the Buzzards Featured on PopDose’s Listening Booth

Straddling the two extremes, roots-rockers Kat Myers and The Buzzards offers the E.P. with the official title Kat Myers & The Buzzards Owe Everybody Money. Myers voice is a pleasing intersection where Aimee Mann and Natalie Merchant collide with equal parts roadhouse and street-corner busking informing the tunes.

“Under The Rug” mixes rock directness with southern accents in a way not too dissimilar from Dents and Shells-era Richard Buckner. “The Things I Love” moves from a rollicking strum to a reverb-laden heavy rocker, then morphs back into the congenial crowd-pleaser it started off as; an odd but effective Jeckyll-and-Hyde of a tune, but it works from start to finish.

Myers and company allow the occasional lightheartedness to accent the songs, not mire them down. The tracks about social and relationship dysfunction are not dark ruminations that demand you pay attention because this is serious. They are more like camera phone snapshots of vignettes that remind us that, at heart, we’re all kind of screwed up.

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

Kat Myers & the Buzzards Interviewed by The Young Folks

Kat Myers & The Buzzards are an indie band based in Los Angeles, California. Their unique sound that’s mixed with country and rock & roll makes them a group your earbuds will never forget. Their new album, Owe Everybody Money, comes out November 17th. But before the big reveal of their new music, I got a chance to chat with frontwoman, Kat Myers, about the band’s early days, what fans can expect in their new music, and more.

TYF: Where did the title of the new album, Owe Everybody Money, come from?
Kat Myers: Owe Everybody Money is a lyric from our song “So Kind” and when I said it out loud it made for a pretty funny album title so we went with it.

TYF: What is your writing process like?
Myers: I’ve never been one of those “wake up and write” types, though I wish I was. I tend to get ideas at random times and sing them into my phone or scribble lyrics in various notepads or type them on my phone and then try to put them all together once I force myself to sit down.

TYF: When you were writing the music and putting together the EP, did you ever experience writer’s block?
Myers: I didn’t actually start to experience writer’s block for the first time until recently. It’s pretty rough! I’m not really sure what triggered it but I just wasn’t getting any new ideas and I felt like I was no longer a musician. I’ve snapped out of it.

TYF: How do you overcome it?
Myers: I’d say, the best way to overcome writer’s block is to just relax and don’t be so hard on yourself. If you made stuff before, you will make stuff again. The more you beat yourself up, the more you will prolong it. Just gotta consider it a forced vacation!

TYF: What can fans expect to hear on the new album?
Myers: For this EP, we recorded it all live, which was both fun and challenging. We worked out the arrangements with that in mind, knowing we would keep the production limited. We wanted to introduce ourselves as we are without extra elements that we wouldn’t be able to deliver at our live show.

TYF: What was it like getting to work with Vance Powell on the album?
Myers: Vance is a machine, he’s amazing to work with. There is certainly a reason that he has reached the level of success that he has reached. He put touches on the songs that we wouldn’t have thought of and really brought them to life. Super cool guy too, a fellow midwesterner!

by Baby Robot Media

PopMatters premieres new video for Neon Moon’s “Smoke”

At first glance, you may have never expected Neon Moon’s Josh Bohannon and Noelle Bohannon to ever come together as a musical duo, let alone as a couple. They were cut from two separate clothes, with Josh pursuing the Los Angeles metal scene while Noelle came out swinging with soulful leanings in Tennessee.

Eventually, though, they found each other following a year-long stay in Nashville for Josh and one of the hard rock projects he was a part of. They hit it off as friends, pursuing a musical output of cover songs on YouTube where they discovered that they worked well together on rootsier tunes.

The end result is Neon Moon, an Americana band that takes those unlikely influences and gives them a dose of twang along with it. The full studio results of that effort are out now in their album, 6:53, and they are celebrating its release with a music video.

WATCH THE VIDEO HERE

“‘Smoke’ is essentially about wanting someone that is just barely out of your reach,” says Noelle. “We all know the feeling of wanting a true connection with a specific person, but that person is not interested, or they only view you as a late-night call.”

“You take what you can get, hoping it leads to an actual relationship, only to wake up alone and no closer to that person than you were the night before.”

She goes on, “For ‘Smoke’, we wanted the musical tension and lyrical tension to really work together. We use the word “ghost” in the song, so we tried to reflect the eeriness and mystery of that through the production. If Fleetwood Mac had put out a twangy country song, we feel like it would sound similar to this!

The idea was truthfully inspired by the movie Harry Potter and the Prisoner of Azkaban, when Bem says in reference to Sirius Black, “It’s like trying to catch smoke… like trying to catch smoke with your bare hands.” The lyrics are written more metaphorically, but the video takes the ghost story vibe very literally! We’re so excited to be able to share this! ”

by Baby Robot Media

Derek Hoke Interviews with Red Line Roots

Derek Hoke will probably get a statue in East Nashville someday…well, at least in our eyes he should. The singer-songwriter and community builder has been the curator of the renowned Two Dollar Tuesdays at East Nashville’s The 5 Spot for 7 years and running and embedded himself fully into the every expanding landscape of Americana and Roots music in town and beyond.

This month Hoke celebrated the release of his latest effort “Bring the Flood”, an introspective look at the world around him. An exploration in how an artist can make a shit storm of emotion and turmoil digestable to a broader audience and a success in the fullest extent of the term. Laying out a well balanced sonic palette of steel driven roots and tele twang, but its truly Derek Hoke’s voice that shines brightest across the breadth of its 10 tracks. Smooth but cutting in all the right ways, it leaves you with a lasting mark and begs for a revisit again and again.

We had the pleasure of catching up with Derek to talk about this latest release, the blossoming state of community through his eye’s in East Nashville and that special evening that went from tumbleweeds to top notch entertainment in his able hands.

by Baby Robot Media

Paste Magazine Premieres Video from Karen & the Sorrows

Alt-country band Karen & The Sorrows are making a name for themselves after releasing The Narrow Place in September. The self-described “queer country trailblazers” have reimagined the genre to create their own brand of Dolly Parton-esque vocals, twangy petal steel guitar and easy-going rhythms, a brand that is demonstrated in their single “Nowhere.” Today, the band is debuting the video accompaniment for the song, exclusively at Paste.

From the sound of her voice, you’d never guess that vocalist Karen Pittelman previously fronted a punk band. However, having grown up on 1970s country rock, she started a band with The Sorrows, and together, they embraced the music of their past, becoming the center of a growing queer country scene.

“Now more than ever, we are grateful to be in community with so many amazing musicians,” Pittelman says. “Country music can tell compelling stories about family, love, heartbreak and strength. Those stories should include all of our families, all of our love, and especially all of our heartbreak and our strength.”

by Baby Robot Media

Glide Magazine premieres MERCH’s new single, “Marriage”

MERCH is the recording monicker of Joe Medina, who creates richly grand cinematic vocal music. On the new MERCH LP Amour Bohemian, which out November 3rd, is an immense project featuring contributions from 65 different artists, including the 30-piece Prague FILMharmonic, who have collaborated with everyone from Werner Herzog and Quentin Tarantino to the Arcade Fire, Joanna Newsom and Adele. Members of The Growlers and The Blank Tapes are also featured on the album, which Oh Sees’ John Dwyer is already calling “a ren-rock masterpiece.”

When Medina began work on Amour Bohemian, he wanted to record with a symphony orchestra. “I did some of the basic arrangements myself,” Medina says, “but I needed help, so I tracked down arranger Richard Hieronymus to an island off the coast of Washington. He was the string arranger on the cult classic 1968 album The Grey Life, by singer-songwriter and psychedelic pioneer of The Blue Things, Val Stoecklein. He also wrote scores for Roger Corman’s films, Phil Spector, and the Wrecking Crew, the L.A. session band responsible for so many of the ’60s songs you hum, from the Beach Boys to Nancy Sinatra.”

A densely layered, wildly ambitious record rooted in Medina’s love of vintage film soundtracks, Scott Walker and Lee Hazlewood, Amour Bohemian‘s cinematic sound is a brilliant fusion of classic pop, psych and garage that’s peppered with reverent nods to the old-school crooners, Mexican ranchero, French chanson and ’30s big-band jazz. Medina shrieks and howls like a descendant of The Mothers of Invention and croons like Leonard Cohen, evoking a serendipitous combination of love and estrangement.

Today Glide is excited to premiere “Marriage”, one of the heartwarming crooner tunes on the album. Accompanied by a simple yet elegant string section, Medina’s vocal bring to mind poetic navel-gazers like Lee Hazlewood, Burt Bacharach and Leonard Cohen. With the choral backing, the song sounds like it would fit right in at a Las Vegas showroom in the Sin City heydays of the 1960s. There’s also a loping, country groove to the song that adds a rougher edge to the tune and makes it just as fit for the dive bar as it is for the velvet-lined lounge.

Joe Medina has plenty to say about the song:

“With ‘Marriage,’ I wanted to create a song that questions our modern society’s rituals of love and how what we take in can reinforce outdated notions, even if we logically know better. So it starts with a feel like one of those old familiar tunes, whether it’s ‘Earth Angel’ or ‘We Belong Together,’ or a hundred other songs from that era that use the idea of ‘owning’ your partner as some sort of romantic ideal. ‘Earth angel, Earth angel, will you be mine?’ or ‘You’re mine and we belong together.’ I think any rational person in the modern age can look at that and think that does not equate a healthy union, but the way those songs sound just really tug at you, right?

So with my song, I wanted to take those kinds of sounds and just really throw them at you (the melody, the orchestra, the slack-key-style guitar solo, the opera singers, and so on)–making you open to suggestion by thinking you are hearing a certain kind of song but really just questioning the whole thing altogether, and our motivations for holding onto these institutions and traditions in our lifetime.

That being said, it was vitally important to me to show the distance we’ve come from that time by making the song gender neutral. Originally, there was a line that went ‘Where they’d pray for the bride and groom.’ I stayed up many a night trying to figure out what to do with that lyric to make it not a she/he thing. Thankfully, a friend of mine named Claire blurted out one night, “How about ‘for the happy two?’”

Of course, being that the notions that have been instilled in us are tough to shake (as much for me as anyone else), the song ‘Marriage’ takes the approach of ‘Won’t you say with me forever, though we both know it isn’t likely.’”