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The 405 premieres “Don’t Wait Too Long” by MERCH

MERCH is the brainchild of Joe Medina, a San Francisco-based singer-songwriter, composer and guitarist. His second album, Amour Bohemian, is out November 3rd via his Sassafras Records and Distribution label. The 405 is thrilled to be able to debut the first single, album opener, ‘Don’t Wait Too Long’.

Medina’s song is smeared with nostalgia, not only through the clear Frank Zappa influence, but also his lyrics. ‘Don’t Wait Too Long’ is all about looking back and reflecting on how fleeting your teenage years really are and how needing to grow up catches up on you. “The bulk of the crew I came up with envy the place I’m in/ Some still burn in their parents’ garage/ Some feel stuck by a kid,” he sings in an Ariel Pink-esque baritone before getting brasher and brattier as he shows off his falsetto in the chorus. The song makes full use of its 5+ minute runtime, with even more quotables (“Me or them or all of us have been so fucked in the head”) and a tangible joy of creation, all the way to the beautiful mandolin-backed bridge. It’s no wonder Oh Sees’ John Dwyer has sung his praises for MERCH’s album, saying, “Amour Bohemian is a ren-rock masterpiece. Pretty much all you could want from a deep album. Well done, sir.” 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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Paste Magazine reviews new LP from Hayley Thompson-King, Psychotic Melancholia

Hayley Thompson-King

Hayley Thompson-King ought to be an artist for whom the doors of musical success will open magically. The one-time classical singer dipped her toes into the realms of roots-rock with her former band the Banditas, and lapped in the trippy thud of psych during her tenure in longtime Boston psych-rockers Major Stars. On her debut album Psychotic Melancholia—being released on her own label, Hard to Kill Records—Thompson-King generates a lot of noise from a traditional instrumental setup. Found within the fissures of her honky-tonk swagger are elements of rock’s more dangerous cousins, as her vacillating vocal prowess easily shifts from songbird elegance to pissed-off shriek. Her songs often follow suit, and on Psychotic Melancholia, Thompson-King gathers all her riotous rock ‘n’ roll flavors and biblical criticism into one big, noisy bowl.

There is an overwhelming essence of roadhouse rock ‘n’ roll abandon on the swinging opener “Large Hall, Slow Decay,” which explodes full-throttle with a searing guitar lead and a potent juke-joint shuffle. Thompson-King darts her crooked tongue in the song’s raucous verses, singing, “So go on, light your candle/Kneel down and say a prayer for me/Cause your little fire ain’t nothin I can’t handle/And I never asked you to set me free.” The song’s break-up vibe doubles as an agnostic front that sets a template for other similarly secular, or otherwise anti-religious ravings on Psychotic Melancholia.

On probably the least bashful indication of Thompson-King’s overarching war against false idolatry, “No Room For Jesus” finds Thompson-King and her band allowing their guitar attack to bloom widely, exploring way outside the Americana, country-rock vein into a psych-rock blitzkrieg. Thompson-King’s vocal mix is very nearly peaked-out on songs with such savagery, with pops and fuzz pocked throughout these more intense tunes like badges of apathetic honor.

On Thompson-King’s purported favorite track, “Dopesick,” she comes through slightly more clear-eyed, despite the song’s inherent, soporific imagery. Through the haze of post-binge clarity, Thompson-King regales the song with the psyche of someone shackled by the doldrums of a poisonous relationship, as she coos, “She don’t let them see she’s livin in hell most of the time/When does it begin to feel like you don’t want to die?”

There’s a palpable feminist roar to the record, and Psychotic Melancholia’s critique of the Old Testament’s focus on “wicked” women is given wide sonic strut on the garage-punk maelstrom “Lot’s Wife.” Here, Thompson-King howls, “You call me wicked woman cause you don’t know my name/Well, he took me from your rib, so you and me we is the same,” coaxing a vaguely bluesy shuffle from the din, and providing a fertile screaming ground for her elastic vocal calisthenics. Somehow, she has the ability to sound just as great in sentimental trill as she does in full blood-curdling scream. The former is best showcased on the dreamy “Soul Kisser,” a mostly unadorned acoustic number, where Thompson-King takes on an operatic vibrato in the song’s soaring chorus, as she sings “Are we Saturn?/Are we Jupiter?/Kill or be killed.”

Thompson-King possesses a seemingly innate aptitude for dressing her lyrics with the grime and gristle of the hustle of life, and in doing so is able to address beauty and ugliness in sharp strokes of songcraft. The intellectual contingent of her writing aside, Psychotic Melancholia is a positively jaw-dropping exposition that celebrates the entire canon of rock ‘n’ roll’s energy, and should be considered an upping of the ante on the gritty sonic real estate of garage, punk, country, and Americana, into some amalgam altogether more apt of Thompson-King’s wondrous artistic aptitudes. 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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Karen and the Sorrows’ Karen Pittelman Interviewed by The Bluegrass Situation

Karen and the Sorrows
Photo by Carole Litwin

A queer Jew from Brooklyn seems like the most unlikely candidate to front a country band, right? If you factor in Karen Pittelman’s past experience singing and performing punk and queercore, her current old country-influenced, honky tonk-inspired group, Karen & the Sorrows, seems even more implausible. Addressing these kind of assumptions about who “owns” country or who is allowed “admission” to country — by the mainstream country machine, country radio, country writers, or country fans at large — is why the following conversation is so important. On the surface, it would be easy, even hackneyed, to presume that Pittelman and company came to country as opportunists on the waves of the Americana tide. But considering LGBTQ+ identities and perspectives in roots music necessitates digging deeper. Doing so in our laughter-filled dialogue with Pittelman was both enlightening and encouraging.

Before Karen & the Sorrows, you were singing in a punk band. I wonder how you bridged the gap between punk and country — it sounds like it was something of a homecoming for you. Did identity play into you leaving country behind? Did you feel that in punk you would be more free to be yourself rather than in country?

Yeah, I think that that’s true. I came up around queercore, a place where making music and building queer community are all one thing. But I also think the distance between country and punk isn’t as far as people like to think. Who’s more punk than Johnny Cash? Johnny Cash is punk as fuck. I think, in terms of genres that give you a space to tap into anger and make something out of that, punk and country are two of the best. Punk isn’t so good for heartbreak and that’s what took me back to country. Really, what I love the most are sad songs. My heart was broken and, I dunno, I guess when my heart breaks, pedal steel comes out. [Laughs] Different things happen for different people’s hearts, but that’s what’s in mine, so I had to come back to country, whether I wanted to or not.

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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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Karen and the Sorrows’ Karen Pittelman Shares ’10 Queer Country Artists Country Music Fans Should Know’ with The Boot

Karen and the Sorrows
Photo by Carole Litwin

“Country music isn’t always welcoming to LGBT people,” says Karen & the Sorrows‘ Karen Pittelman. “But we still love it, even if it doesn’t always love us back.”

Mainstream country music fans are likely familiar with Chely Wright, Ty Herndon, Brandy Clark and songwriter Shane McAnally; fans of Americana and alt-country may know Sarah Shook & the Disarmers, and perhaps Karen & the Sorrows, too. But there are a number of other LGBTQ artists and acts who still fly a bit more under the radar within country music and its sub-genres.

In an effort to grow these artists’ reach, Pittelman and bandmates Elana Redfield and Tami Johnson founded the Gay Ole Opry, a recurring event featuring queer country music acts, in 2011. They also put together Queer Country Quarterly shows, which take place, as the name suggests, each quarter, in Brooklyn, N.Y.; similarly, there’s Queer Country West Coast, spearheaded by Eli Conley, out in the San Francisco Bay Area. And this summer, Pittelman and company organized the Another Country Festival as well, and hope to run it again next year.

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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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Noisey interviews Hayley Thompson-King, streams new LP Psychotic Melancholia

A country artist with a serious set of pipes is nothing new, nor is rock-heavy country music with a psychedelic twist. Equal parts Dolly Parton and Jefferson Airplane, Hayley Thompson-King’s solo record Psychotic Melancholia is a poetic and measured critique of life as a woman in the 21st century, but don’t let that turn you off. There’s still plenty of rollicking on this record.

Psychotic Melancholia opens with “Large Hall, Slow Decay” a good-natured single focused on teasing a holy roller who’s found herself on a mission to save King from her sinning ways. With a guitar riff ripped straight from Chuck Berry’s “Johnny B. Goode.,” the song is an energetic introduction to what Thompson-King has repeatedly called her “Sodom and Gomorrah concept album.” As far as a country record goes, that’s is a damn good place as any to kick it off.

Thompson-King was born and raised in Florida, the daughter of “an actual cowboy” (her words) who enjoyed horseback riding and had a knack for finding herself at church-organized events on a quest to figure out exactly what it would take to get sent to hell. At one point, she was a proud member of a group called “Clowns for Christ” an organization that is exactly what you think it is. Eventually she moved to New York, then to Boston, where she earned her master’s degree in Opera Performance from the New England Conservatory of Music. She didn’t start out doing the country thing seriously, as the band she helped form in 2012, Banditas, emphasized garage rock and gospel influences more than others. You can still hear some country in a few of the band’s songs, but they’re hidden enough to make Psychotic Melancholia feel that much more like a head-first dive into the genre than a gradual transition.

“I feel that what’s been done to perfect country [music], we could try and get as [close to] perfect as we can” Thompson-King says of the record’s sound, which heavily borrows inspiration from old rock ‘n’ roll and Opera alike, “but whenever I get into that mindset, no one likes it. It doesn’t work for me. So we went this other route with it where we just got really psychedelic.”

Going psychedelic doesn’t always fit on this record. A song like “Teratoma,” for example, where Thompson-King’s opera-trained voice seems restricted to a specific octave and forced to maintain a monotone voice in between each choral refrain feels restricted to the theme instead of enhanced by it, whereas her cover of Dolly Parton’s “Old Flames Can’t Hold a Candle to You” probably would have run wild and free with that treatment. “Dopesick,” which was written from Thompson-King’s personal experience of watching a loved one struggle with a heroin addiction, on the other hand, which begins in an eerily similar way to the Parton cover, ends itself with a guitar spot and a wild howl that hints at just how psychedelic this thing could become. It often feels like Thompson-King and company’s music is being reined in when it needs to be allowed to roam freely.

It’s not a record that’s all disappointment and no worthwhile pay off, though. Thompson-King ends it with an Opera song “Wehmut,” which is a German word for “wistfulness,” that’s totally out of left-field and absolutely not in line with the album overall, but Thompson-King’s vocals are so spectacular I’m willing to let it slide. And, as far as concepts go, there’s hardly a better one than Sodom and Gomorrha. They were just trying to have a good time, after all. 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.