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Party Dolls

L-R: Frank Keith IV, Tedo Stone, Jeremy Wheatley & Drew Beskin. Photo by Brian Manley.

To set up an interview with Party Dolls, or get your hands on press passes, advance music, hi-res photos, album art or videos, contact stevelabate@babyrobotmedia.com

Bio

At its core, Party Dolls is a collaboration between This Is American Music labelmates The District Attorneys and Tedo Stone. These two rising bands have shared the stage many times, but it took one long year of heartbreak, restlessness and inspiration to bring them together in the form of Party Dolls. Joined by members of Crooked Fingers, Moths and Ruby the Rabbitfoot, this high-chemistry new project is set to release its debut LP, Love Wars Baby, on Valentine’s Day 2014.

While The District Attorneys took their time, casually working on a new album (due out in late 2014), frontman/songwriter Drew Beskin amassed dozens of new songs he wasn’t sure could—or even should—fit The District Attorneys’ sound. “Everything I was writing at the time,” Beskin says, “was dark, honest, therapeutic and true.” During this prolific period, Beskin began to bottle lightning—writing disarmingly intimate, emotionally direct tunes in an attempt to transcend the pain he was feeling in the wake of a bad breakup.

“These songs had to be written,” Beskin says. “At first, they were just for me, and for a long while I did not care if anyone else ever heard them. They poured out of me. They were about turning a negative into a positive.”

Some time after the heart-wrenching period that birthed these songs faded into the rearview, The District Attorneys were invited to play a Valentine’s Day show with Southern rockers Ponderosa at Athens, Ga.’s Caledonia Lounge. Only half of the District Attorneys were available, but instead of declining, Beskin approached musician friends Tedo Stone and Jeremy Wheatley (Crooked Fingers), who joined him alongside District Attorneys bandmates’ Frank Keith IV and Walker Beard. Together, they learned Beskin’s newer, more personal songs, and Party Dolls was born.

With this simpatico group of players, the arrangements came instantly, effortlessly. Within a month’s time, the band made its live debut on Valentine’s Day 2013. The show was so well-received that Party Dolls decided to record an album, working on it in spurts over the course of a year whenever the band was able to gather for a session at bassist/engineer Frank Keith’s home studio in Athens.

Party Dolls’ debut, Love Wars Baby, is slated to drop on Valentine’s Day 2014, exactly one year to the day from the band’s first show. Though still peppered with top-notch rockers, the new album emphasizes acoustic-guitar ballads backed by a big drum sound and sweetened with a healthy dose of cello and piano. Beautiful and haunting, Love Wars Baby captures the more reserved, thoughtful side of The District Attorneys and Tedo Stone. It’s a vehicle for the prolific Beskin’s honest, inventive songwriting, showcased ably by Keith’s skillful engineering. With the anthemic title track and the driving female-harmony-anchored “Indigo,” listening to heartbreaker “A Firecracker” and epically catchy sea-chantey singalong “Sweetheart Moon,” this album is an impressive and revelatory debut from start to finish.

“These songs, and now this album, are and will always be about turning a negative into a positive,” Beskin reaffirms. “It timestamps a very specific point in my life and, for better or worse, I have a record I’m very proud of.”

Links

Website / Facebook

Lily and the Tigers

To set up an interview with Lily and the Tigers, or get your hands on press passes, advance music, hi-res photos, album art or videos, contact stevealbertson@babyrobotmedia.com

Bio

Down the well-traveled highways of America comes Lily and the Tigers, rambling from town to town, infecting hamlets and cities alike with their arresting indie folk. Each song spins an intricate web of love and friendship while betraying a dark, pastoral Southern Gothic undercurrent. Depending on the night, you might find the tight-knit group on a candle-lit front porch swapping songs ’til sunrise, or perhaps churning through a set at some jampacked outdoor festival, winning (broken) hearts & minds while warming up the crowd for artists like Bela Fleck, Shearwater or O’Death.

Recorded in rural Vermont, the band’s new LP, The Hand You Deal Yourself (out March 4) embodies that quintessential rock & roll archetype of creativity through isolation. Like Bob Dylan & The Band’s Basement Tapes or Bon Iver’s For Emma, Forever Ago, Lily and the Tigers have created a down-home set of songs filled with ramshackle charm and anchored by a stripped-bare aesthetic.

Lily and the Tigers was born shortly after standup bassist Adam Mincey met Casey Hood amongst the clatter of drunkards, hipsters and hustlers at some divey and destiny-bound pool hall on the outskirts of Atlanta back in 2010. Their clandestine friendship quickly bore musical fruit. “Once I heard her sing,” Mincey says, “I knew instantly that I had to be in a band with her.”

Initially a duo, Hood and Mincey released their bedroom-recorded debut, Sojourner, the following year. The album featured a rotating cast of players lifted from other bands in the local scene, who fell in effortlessly, weaving improvised, layered arrangements around Mincey’s thumping basslines and Hood’s alternately soulful and haunting vocals.

In the wake of Sojourner, the band went on a brief hiatus while Hood packed her rucksack for a four-month journey through Asia. Inspired by this new world she’d discovered across the globe, she collected the sounds of ancient prayers, chants and monsoon rituals with her tiny field recorder. “I bought this cheap little Nepali guitar and that’s how I communicated while I was there,” Hood says. “I played this family the first Beatles song they ever heard. … Really, I had to leave home to find home. By the time I got back to the States, I was taking my music much more seriously.”

Hiding ‘Til Dawn, the band’s sophomore album introduced the precise and inspired slide guitar work of Jared Pepper, Lily and the Tigers’ third permanent member. Contrasted with the psych-tinged Americana of Sojourners, ’Til Dawn has an old, weird Appalachian feel, due in large part to the contributions of fiddle player Ryan Gregory, bass clarinetist Mikhail Ally and drummer Peter Webb. The album was cut almost entirely live in one all-night, whiskey-soaked marathon that left the six musicians staggered in a Waffle House at 8 a.m., trying to wrap their heads around exactly what had just transpired.

By the summer of 2013, the band had entered a new phase, paring down to a trio. The remaining core—Hood, Mincey and Pepper—crammed their instruments into Hood’s tiny Toyota Yaris and road tripped up the East Coast from Georgia to Vermont where, for the next week, they worked on new album The Hand You Deal Yourself, recording every day and camping every night.

“There was nobody else around,” Hood says of the solitary sessions. “We’d wake up every morning to the sound of the Mad River, then go into the studio during the day, and afterward there’d still be a couple hours of sunlight to walk to the general store or explore some waterfalls. Being outside inspired us. Playing music around a bonfire is what we love.”

During the sessions for The Hand You Deal Yourself, producer/engineer Steve Askew (Seely, Prefuse 73, Minty Fresh Records) gave the band free reign to experiment. They used this license to loot the basement of his home studio for esoteric sounds. On “Honey,” Pepper provides percussion by repeatedly dropping a length of chain onto a metal filing cabinet on the upbeat, and pounding a hearth scraper against the top of the cabinet on the downbeat, mangling it in the process. “Steve was like, ‘I was going to use that!’” laughs Mincey. While the filing cabinet was sacrificed, the ghostly percussion lends the waltz an intriguingly dark ambience.

The song “Beaumont” is a love letter to Victoria House, an infamous DIY venue for wayward travelers and gypsy rockers. “It’s like your grandparents’ house, where all the artifacts are still there, except the kids have taken over,” Hood says. “To us, that house is the essence of being on tour.” The record’s final track, “Last Mosquito,” is a transcendent Southern ballad Hood wrote after wrestling with the death of her grandfather. Further cementing the themes of family, friendship and travel, “All Hearts and Hands” is a sensual, slide-anchored romp that channels the carnal intensity of love, while “Home” is equal parts a melodic thank you to Hood’s sister and a show of deep affection for the close circle of Atlanta musicians who have offered up their talents to Lily and the Tigers in the past, and continue to inspire them.

The March release of The Hand You Deal Yourself now on the horizon, the band is hard at work booking an extensive U.S. spring tour. “This album is about the all the work we put in to get where we’re going,” Hood says. “You can be influenced by a lot of things but ultimately you deal your own hand. We don’t carry our fear. We set it aside.”

Links

Website / Facebook / Twitter / Instagram

by Baby Robot Media

Party Dolls wrap sessions for debut album, celebrate with hometown blowout

Party Dolls Oasis Poster District attorneys drew Beskin tedo stone crooked fingers what's the story morning glory baby robot media

In their short history, Atlanta/Athens indie supergroup Party Dolls have already shared bills with The Whigs, Turf War, Modern Skirts, Ponderosa and Great Peacock, and they were one of the most buzzed about bands at Athfest 2013. Having just completed their debut album (out Feb. 14), Party Dolls will return to the stage January 3 for a special celebratory performance at Smith’s Olde Bar. The band will be playing the new album in its entirety, and will then treat the crowd to a second set in the guise of legendary rock & roll band Oasis, performing a tribute to the band’s classic album (What’s the Story) Morning Glory. This is one you don’t want to miss… RSVP here.

by Baby Robot Media

The Times-Picayune previews The Head’s Dec. 18th show in Baton Rouge

There’s a lot of growing up that happens for most people in high school. For Atlanta-based band The Head, it included graduating from a cover band to a full-fledged, music-writing endeavor.

That maturing experience meant big things for the power-pop trio, the members of which found themselves in the tough spot of sometimes not being old enough to play in bars and clubs. Not so the case today, as each member is at last 21, and it certainly won’t be an issue when The Head plays at Mud and Water in Baton Rouge on Dec. 18.

Blue Indian names The Wild band of the month

It was great to finally see you all play this past week at the Stuffing in Atlanta. How did you all come to be a part of the event and what were the two days you played like?

Witt (all answers): The Stuffing was a great experience for us. It was great to be in our hometown for Thanksgiving, and it just had a really cool family atmosphere. We played with Bad Books this summer at The Webster Hall in New York, and we started talking with them about The Stuffing. We’re really Grateful to Manchester Orchestra for asking us to be a part of it. The first night was all acoustic, and we were a little nervous, because we were the first band that night, and it was really cold and raining. I guess I was just worried that no one would get there in time for the first band, but when we came out to play the room was full, and it was great feeling. It was really cool to play acoustic, because we got to do some songs we don’t get to play very often, and to play to a quiet and attentive room was a really cool experience. The second night was all electric and we played last on our stage. It was so much fun, and it was cool to see the contrast in the energy of the crowd from the acoustic show the night before. We just had a great time hanging out with the Manchester Orchestra guys, our friends in Front Bottoms, and to see and chat with Kevin Devine again. There were also a lot of bands that we hadn’t seen before and were really excited to meet and play with. Big Jesus was one of my favorites.

Voli

Bio

A native of New Jersey, Voli grew up with an affinity for the arts. Getting his musical start as a rapper, Voli honed his lyricism while internalizing the tastes of his favorite producers of the era. Voli focused on rapping for several years before deciding to shelf his lyrical talents in order to cultivate his production.

After mastering Hip Hop production, he worked on developing his style, introducing more Pop, Rhythmic, & Rock into the mix, expanding into a sound with an individual and distinctive style. Despite this growth, years of producing songs to suit the needs of other artists and struggling to find placements led Voli to realize there was no one better to get on his tracks than himself. The hunger to share his vision as an all-encompassing artist began to grow; Voli felt that people like him want to hear music from someone like them.

His point of view captures the struggling artist, the college grad wondering how to find a job in this economy, the worker in the cubicle counting down the minutes until 5:00 – anyone who has felt like they’ve put their dreams on hold to deal with reality. Now ready to create his own reality and inspire others to do the same, Voli is embarking on a true artistic journey as a producer, songwriter, and lyricist. Glass Doors, Voli’s debut sampler, is just the beginning… join him on his musical Odyssey.

Links

Website / Facebook