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Destroy/Exist premieres “Melting Over You” by Beechwood

arrying a lot from the psychelic garage rock of the sixties and the genre’s resurgence which happened in the eighties, NYC’s Beechwood have started the year with much confidence, and a brilliant new album.

Although the recently released Songs From the Land of Nod deserves the listener’s attention in its entirety, and although it’s a brief record which clocks at just a bit over 32 minutes, the album without a doubt sounds capable of producing more than enough singles and highlights.

Beechwood move within the limits of their hometown’s very rich punk rock history, so names are going to be dropped, and the comparisons will be inescapable. Whether one perceives their sound as a more glam-oriented version of Television, a more intricate version of the Ramones, a dirtier version of the Blues Magoos or just something that could have jumped right out of the original Nuggets compilation, the trio’s gritty sound is impressive enough to speak for itself and nail its audience down.

Melting Over You is one of those tracks which convey that original New York garage punk feel, and while we’ve heard a whole lot of its kind in the past, it’s not very common, still, much welcome to encounter these days. READ MORE…

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by Baby Robot Media

Influences: Great Peacock

Nashville’s Great Peacock?? comprised of lead singer and guitarist Andrew Nelson, guitarist Blount Floyd, drummer Nick Recio and bass player Frank Keith IV ?? are fixtures in the Southern festival circuit including Shakey Knees, they’ve shared stages with an abundance of equally-minded noise-makers, including Colter Wall, Hurray for the Riff Raff, Cage the Elephant, American Aquarium, Margo Price, and Jonathan Tyler.

Nelson recounts the birth of the band. Late one night, when they were drunk on Bushwackers, Nelson, “…jokingly said we were going to start a folk band, and we wrote a song called ‘Desert Lark.’” Close friends and family raved about what they had nonchalantly created. The band soon became a reality in early 2013, and their debut album Making Ghosts arrived two years later.

Having grown up in a rather sheltered Pentecostal household in the suburbs of Birmingham, Alabama, Nelson tuned into the only secular music he was allowed to listen to: the local oldies station. “What really got me into music is the blues. When I was a teenager I really liked John Lee Hooker, Freddy King, BB King and Buddy Guy. I think you can hear these influences in the new songs in some ways. At an early age, I learned how hitting the right chords at the right times could really mess with somebody’s emotions.”

It wasn’t until he was 14 years old that he heard Lynyrd Skynyrd’s “Free Bird” for the first time, and it changed everything. “When I heard the guitar solo, I freaked out. I went downstairs and started playing my brother’s guitars when he wasn’t home. I taught myself how to play, because I loved that song so much. I would get my ass kicked for breaking his strings, though. I had to learn fast, and I knew I wouldn’t get a guitar from my parents if I didn’t already show some interest or effort.”

by Baby Robot Media

Sir Canyon Heads For the West Coast on “Ventura Skies” (premiere)

Better known as Sir Canyon, Los Angeles artist Noah Lamberth offers his alternative take on country music with more of a psychedelic twist than most. Accentuated by radiant pedal steel, shimmering vocal reverb, and a steady, dreamy vibe from beginning to end, the Americana presented in “Ventura Skies” could rightly be labeled as a sort of “cosmic country”. It’s all about kicking back and realizing one’s dream to move out to California shores for a life of relaxation, and Lamberth’s way of delivering the song sells it with the seemingly effortless confidence that one would come to expect of a songwriter of his caliber.

Landing on the “Sir Canyon” moniker purely because it “sounded cool”, Lamberth captures the ethereal California lifestyle depicted in “Ventura Skies” to a tee. It wasn’t always clear skies for Lamberth, who only settled on developing this unusual yet homey style of re-working roots music following a romantic breakup and the loss of his father to cancer. With “Ventura Skies” and its incoming album of the same name (2 March), Lamberth is setting out to renew himself and start fresh with a new and exciting musical pathway that’s past his years of joining a band and sharing stages with the likes of Willie Nelson, Brad Paisley, and Katy Perry. With Sir Canyon, Lamberth owns something that’s all his own.

What is “Ventura Skies” about?
The song is more about an idea rather than talking about a place. It’s about moving forward, heading West and starting over again. I used to live above Ventura Blvd and a lot of life happened in that house, mostly good memories but life evolves and we move on. We used to have the best sunsets up there and the skies always looked so amazing as you looked West to the ocean over Ventura Blvd and Ventura the city was about an hour away…

by Baby Robot Media

Earbuddy premieres “Phoenix” by DEGA

DEGA is the husband and wife duo of Kalen and Aslyn Nash. Both have prior experience to DEGA with Kalen involved with New West Records act Poderosa and Aslyn recording two prior albums and also serving as a touring keyboardist and backup singer for Kesha. As a duo, they create music that’s enchanting and dreamy. On February 23rd, they will release their self-titled debut through Lemonade Records. Today, we premiere the album track, “Phoenix”, a very personal song for the duo. Check out what they had to say about it and listen to the track below.

What does your relationship with this one feel like now, as compared to when you initially wrote the song?

Aslyn: My connection with ‘Phoenix’ feels just as strong now as it ever was. The song was initially inspired as we walked the streets of London one night at 2am and a red fox approached us in the streets. We were in Camden, not the English countryside, so it was quite an unusual sighting, at least for us.

Kalen: We took it as a good omen and attempted to follow the fox, but very quickly, he disappeared. Thoughts of his elusive nature are what began the idea for the song.

Aslyn: On a more personal note, later we learned that we were pregnant during that time. We unfortunately suddenly miscarried several months into the pregnancy, just as the excitement and wonder settled in. This song took upon that story for me. Just as the fox came and disappeared, so had this crushing experience.

How exactly does symbolism of the phoenix tie in, here?

Aslyn: I had to create a place in my mind and heart, a place of refuge, to reconcile the sorrowful experience and the feelings of loss. The story of the Phoenix finding renewal of life in the midst of death gave me release. Every time we play that song, I relive the presence and the absence felt amidst that time in our lives. READ MORE…

by Baby Robot Media

Pedal Steel Legends Lloyd Green and Jay Dee Maness share “You Ain’t Goin’ Nowhere”

In 1968, The Byrds released the legendary Sweetheart of the Rodeo, a deeper exploration of the country music they had begun to explore on earlier releases. This shift was brought on in large part by the entrance of Gram Parsons whose association with the band would introduce his sound and songwriting to a vast audience.

In addition to the contributions of Parsons, Sweetheart of the Rodeo received much of its authenticity from a pair of country-music steel-guitar wizards: Lloyd Green and Jay Dee Maness. Green, an in-demand Nashville session player (George Jones, Johnny Paycheck, and Charley Pride) and Maness, a young gun on the L.A. scene, gave Sweethearts its unforgettable twang and down-home pedal-steel hooks – and forever put their stamp on country-music history.

Now, Green & Maness are preparing to release their new album, Journey to the Beginning: A Steel Guitar Tribute to the Byrds, which celebrates the 50th anniversary of those fabled Sweetheart of the Rodeo sessions. Producer John Macy worked with Green and Maness to transform eleven Sweetheart classics into lush, imaginative steel-guitar instrumentals that stay true to The Byrds’ simple but perfect melodies while injecting new life into the songs.

Today, ND is pleased to share the closing track, a reprise of Bob Dylan’s “You Ain’t Going Nowhere.” Featuring Sam Bush on mandolin and vocals from Herb Pedersen (The Desert Rose Band), Jeff Hanna (Nitty Gritty Dirt Band), Richie Furay (Buffalo Springfield) and Jim Lauderdale, the all-star group put their indelible stamp on a beloved classic that is just as endearing as the original.

Lauderdale had this to say about working on the project, “Lloyd and Jay Dee are sounding better than ever revisiting and expanding their mastery on the groundbreaking and important album that they added their touch and feel too all those years ago. It was a thrill and an honor to get to help sing on “You Ain’t Goin Nowhere.” Hearing these two legends play together is a dream for a steel lover like me.”

by Baby Robot Media

XLR8R reviews diNMachine’s new LP

New York-based noise/pop artist Michael J. Schumacher has released a new as diNMachine, titled The Pleasure of Principles.

Schumacher has been pushing the boundaries of sonic practice for decades. In the ’90s, he launched his Room Pieces series, a collection of sound installations that run continuously for long periods in galleries, museums, public spaces, and people’s homes. From there he went on to collaborate with sound artists Stephen Vitiello and Oren Ambarchi, as well as famed NY film director Ken Jacobs.

Though diNMachine’s instrumental noise/pop is cerebral and at times challenging, it is also Schumacher’s most mainstream-accessible project, utilizing sound and technology to challenge traditional definitions of pop music. “With this music, from the waist down, you want to move, but from the neck up, you want to sit and figure it out,” Schumacher says of the record. “People should relax and enjoy it. I think it’s what pop music should be.” We’re told that the new record is “a fusion of hyperactive drum & bass and analog synths laced with elements of rock, funk, and soul.”

Since it began in 2012, diNMachine has released its hard-to-classify music on Greedy Dilettante and the group’s own Yocto Yotta label, with Schumacher working with artists including Michael Evans, Alejandro Flores, Hari Ganglberger, Nisi Jacobs and Brian Lawlor on the project.

Despite the diversity of sounds and the many ways the music plays with song structure, The Pleasure of Principles represents a comparatively stripped-down approach, with Schumacher on synths and Alex Goldberg on drums and electronic percussion, with additional drum programming by Jake St. John. Initially, these more minimalist recordings weren’t intended as part of the diNMachine oeuvre. “The first two records were defined, for me, by the juxtaposition of electronics and acoustic instruments, so this material felt essentially different,” Schumacher says. “But then Nisi kept saying it’s got the same basic vibe, so just make it a diNMachine record.” READ MORE…