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Creative Loafing Atlanta gives Midnight Larks’ new LP 3 out of 5 stars

Midnight Larks’ self-titled debut steps boldly onto the glowing frontier of psychedelia and garage rock with a stylish gait that reaches beyond all of the aforementioned genres’ sonic limitations. The album opens with a pair of standout numbers, the spaghetti Western-tinged “Gunfighter” and the spy-themed “Loner.” Both usher in a thick and atmospheric blanket of swirling obsession, paisley melodies, and a bewitching magnetism. There’s an awful lot of texture and imagination at work in songs such as “Shameless Child,” “Tonight,” and “Tease,” each one drawing inspiration from the Ramones’ shotgun approach to songwriting, Gram Parsons’ psychedelic country candor, and the Shangri-Las’ dreamlike drift.

Singer and bass player Nikki Speake’s voice leaves an indelible girl-punk impression on “Summer of the Preacher.” Guitar player and singer Sasha Vallely takes lead on the sultry, “Moontown,” showing off a depth and breadth of musical abilities. As each song slithers through various and sundry stories of heartbreak, high tension, and danger, the visceral rock ’n’ roll momentum never fades. Drummer Pietro DiGennaro is the secret weapon, toggling seamlessly fast and slow tempos with loose and natural human sway. Beneath Midnight Larks cinematic grit, the album disguises a familiar Americana landscape with heavy-handed strumming and a barrel-chested roar to beat the devil and save Atlanta’s rock ’n’ roll scene. READ MORE…

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by Baby Robot Media

New Noise Magazine streams the new self-titled LP from Atlanta garage/psych trio Midnight Larks

“This album has been a long time in the works and we are excited to finally be able to release it to the public. We first started playing together live three years ago and these are the songs that have developed over time through us playing many live shows around Atlanta. Some of the songs were written by myself and Nikki years ago in our previous projects and reworked to fit with the Midnight Larks style and some were brand new songs written especially for the band. I wrote ‘Gunfighter,’ ‘Loner,’ ‘Shady,’ ‘Moon Town,’ ‘Sometimes’ and ‘Tonight’ and Nikki and I co-wrote ‘Tease.’” – Sasha Vallely of Midnight Larks

We’re pleased to bring you the premiere of Midnight Larks’ new self-titled album (listen below), which is officially released today, March 30th. READ MORE…

by Baby Robot Media

Tiger March give track-by-track breakdown of their new LP Hold Something at Atwood Magazine

Synthpop’s freshest couple open their debut album with a confessional petition: “Hey hey, by the way, could you stay? I want to ask…,” sings Tiger March’s Annie Gleason, surrounded by the glowing sounds of her musical and marital partner, Matthew Gleason. A bubbling love song full of tension and hope, “Could You” sets a sweet tone for Tiger March as the duo embark on a journey of bright sonic swells and intense, dynamic emotions. “My hands are magic in your hands; this wasn’t what we planned, but if this is all that we have, are you scared to ask?“

“In an album that charts love’s beginnings, ends, and in-betweens, Hold Somethingshowcases the hopeful drive that sends us searching — even if at times misguided — for that someone or something to hold onto,” the band shares. “Hold Something is the album’s refrain, its reminder, and its imperative. Love — the search for it, the beginning, middle, and end of it — can be as shiny and shimmery as it can be dark and devastating, but you’re going to do it anyway because you have to and you should.”Forming through a Craigslist post four years ago, Tiger March was a band long before it was a love story: Annie and Matthew connected over shared tastes in music and a desire to craft something unique together. Their debut album Hold Something, independently released 3/23/2018, is a bustling montage of moments and memories that capture their individual and shared emotional journey. READ MORE…

by Baby Robot Media

Earbuddy premieres “Chickadee” by Fort Gorgeous

On May 4th, Fort Gorgeous will release his debut EP The Bottom of the Sea. Fort Gorgeous is the indie rock/pop project of Billy Libby, a musician who’s played with such artists and bands as My Morning Jacket, Gregory Alan Isakov, Surfer Blood, Tokyo Police Club, Ingrid Michaelson, Lady Lamb and more. He’s also collaborated with Cara Salimando, who recently cowrote a song on the new Kesha record, as well as members of Tennis and Nathaniel Rateliff and the Night Sweats. Today, we premiere the new song, “Chickadee”, from his forthcoming EP. READ MORE…

by Baby Robot Media

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…

by Baby Robot Media

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

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.”