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Nashville Scene shares the new single “Uniform” from Nashville jangle-punks Datenight

Even if you’ve only dipped into the Nashville rock scene, chances are good you’ve seen Datenight, the often-busy fresh-faced trio featuring drummer Thomas Borelli, bassman Isaac Talbot and guitarist-singer Grayton Green. The Spin’s enjoyed them, whether it felt as though their sound leaned a little more toward hardcore or else toward something Stooges-y. After several years honing their chops — including a slot opening for Detroit legends Death — they’re finally set to release their debut full-length, titled Comin Atcha 100MPH, in the spring. 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.

by Baby Robot Media

SONG PREMIERE: R. FINN GETS HEARTFELT WITH TWANGY AMERICANA TUNE “QUIET HOUSE”

With his new debut, Collecting Trip (due out on January 19, 2018), R. Finn has created a heartfelt album rooted in timeless Americana and colored by subtly lush, alternately haunting and hopeful arrangements. The Southern California songwriter took the long way around on this journey, some of his songs on the record tracing back nearly a decade.

The LP’s title not only references the “collecting trips” taken by folk musicologists John and Alan Lomax, but also what the album represents to Finn: All the years of accumulating songs, players, styles and gear that have resulted in his affecting, long-evolving sound. And then there’s his deep devotion as a student of songwriting and music history. “I’m just trying to do what I love and what I listen to,” Finn says. “I’m always trying to evoke Ray Charles or Woody Guthrie.”

While the story of Collecting Trip begins and ends in Los Angeles, it’s also anchored by a pivotal journey to rock & roll landmark Woodstock, N.Y., where Bob Dylan and The Band holed up at a house called Big Pink in the late ‘60s, cranking out some of the era’s most iconic songs from a dusty basement studio. Finn found a connection to this bygone era in his early 20s when he crossed paths with The Band’s Levon Helm. He’d heard Helm was living on a farm in Woodstock with a studio out back and no gear, and Finn just so happened to have a bunch of gear and no studio. Finn gathered up the nerve to cold call the legendary drummer/vocalist, the two hit it off immediately, and Helm invited him out to the farm. After Finn spent a night recording Helm, Levon was so impressed he asked him to stick around a while longer. Finn wound up staying for two years.

by Baby Robot Media

Impose Magazine premieres diNMachine’s new single, “Sound Pets”

Amidst the cacophony of experimental/noise-pop acts relying on sinister sonics that lure a listener into a beguilement, diNMachine is an outlier. The brainchild of longtime composer Michael J. Schumacher, the project has been the source for a brand of experimental music that’s refreshingly danceable, especially with the work being released from his upcoming *The Pleasure of Principles* album. diNMachine’s past productions have explored the artistic nexus of funk, soul and rock, presenting confounding soundscapes that highlight the power of the right groove.
For his upcoming *The Pleasure of Principles* project, diNMachine is exploring a “stripped down” approach, showcased by the minimalist groove of “SOUND PETS,” his latest single. The track is a frantic composition that matches a distorted synth with thick, rapid-fire drums. The track has its moments of raw churning but also morphs into a range of rhythms ripe for some moves on the dancefloor.
It’s true to his intention to “make pop music,” as he said via e-mail. He adds that “these songs are informed by a long take on pop and rock history, listening to and absorbing music from the ’60s to the present. It’s not a retro project, I’m not intentionally referencing anyone, but it’s the music that formed me and it’s bound to filter through.” And shine.
You can listen to “SOUND PETS” below, and look out for *The Pleasure Of Principles* on February 9th.
EDIT: Here’s more on the track from diNMachine:
“‘Sound Pets’ is another song from the album that has two contrasting parts. The beginning is is pretty driving and there’s a shift midway through to a quiet, melodic section. The inspiration came from the percussive-sounding synthesizer track, almost like an electronic drum, that starts the song. I added drums and layered the droning melody on top of this, also adding a bass to reinforce the low end.
What I started to realize was that the sounds were suggesting some simple progressions: I-IV-V-I and, later, I-flat VII (mixolydian); there was something in the droning “melody” part that communicated this. This could easily be guitar, bass and drums, in fact, when we perform this, I double all the harmonies on piano.
For the second part I found another synth riff that also focussed on simple harmonic relations, in this case I-V-IV-V. The very active synths that overlay this is one of my favorite sounds.
In a way, writing music comes down to fulfilling and denying the listener’s expectations. So why not use mistakes to accomplish that? The last part of the song has three main instrumental parts: a simple 4/4 beat in the snare drum over a repeating synth riff and a melodic bassline. Every now and then the bassline skips a 16th note – makes a “mistake” – shifting a small amount from the 4/4 beat of the snare. This shifting relationship is what this part is mostly about.
The song reminded me of the Beach Boys. I don’t know why. So, I called it ‘Sound Pets.’” READ MORE…

by Baby Robot Media

PopMatters premieres diNMachine’s new single, “Failing All Charms”

diNMachine is a project led by experimental composer, Michael J. Schumacher. Recalling both the playfulness and primitive nature of early synth music, diNMachine‘s latest tune, “Failing All Charms”, slated for the band’s upcoming full-length, due in 2018, exemplifies the maestro’s organically adventurous style.
Schumacher, more generous with his creative insights than most, says that the tune began, as most of his compositions do, as a loop with synth and drums. He built the drum part via a Vermona DRM1 which was subsequently set through a bit crusher called the Biscuit. Moving on to the synth part, he turned to a modular system containing Verbos, Make Noise, Expert Sleepers and Intelligel modules. READ MORE…

by Baby Robot Media

Ghettoblaster premieres MERCH’s new video for “Two Hearts”

MERCH’s (aka Joe Medina) new LP, Amour Bohemian, is an immense project that features contributions from 65 different artists, including the 30-piece Prague FILMharmonic—one of Europe’s most sought-after recording orchestras that has previously worked with Werner Herzog, Ridley Scott, Arcade Fire and Joanna Newsom.

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.

Members of The Growlers and The Blank Tapes are also featured on the album, which John Dwyer of Oh Sees is already calling, a “masterpiece.”

MERCH’s new single “Two Hearts” channels the orchestration and cinematic scope of Ennio Morricone, paired with dramatic melodies that call to mind Leonard Cohen’s Death of a Ladies’ Man. The accompanying visuals were filmed by Jason Shamai, with additional footage shot by Charlotte Linden Ercoli Coe, who has directed videos for Ariel Pink, Weyes Blood, and co-wrote some of the tracks on Ariel’s latest album, Dedicated To Bobby Jameson. The video plays with nearly tactile memories of Medina’s, creating a uniquely personal and poignant visual to accompany the track.

This is what Shamai had to say about the video:

“Joe is a real fan of Charlotte’s work in all the fields she has her hands in. They got together and shot some stuff. My interpretation of the footage she took of Joe was that she wanted to capture an unromantic, chintzy version of the rock star persona. But then Joe asked me to help incorporate what she shot into an even larger framework.

“The video we ended up with was largely a response to the available footage and available location — the trailers where Joe was staying at the time in Hollywood. Most of my footage was captured on the fly, of people we’d met at the location. I scattered the shiny objects and toys around, hoping the kids would play with them, and they did. I even wanted the little boy to put on those heels but I didn’t know if I should ask his parents—but then the kid ran right for them and did all that strutting on his own. At some point, the video became more clearly about childhood visions of the future—how those visions fall short, but also how those visions can look in retrospect. Sometimes flimsy or tawdry, but sometimes just a pure as you remember. Charlotte’s footage kind of served to represent that middle ground you end up finding, a compromised image of yourself that still retains a little innocence and optimism.” READ MORE…

by Baby Robot Media

SONG PREMIERE: JAMIE MCLEAN BAND SHARE TWANGY ROCKER “ONE AND ONLY” OFF UPCOMING KEN COOMER-PRODUCED LP

Jamie McLean is a triple threat. As a guitarist for New Orleans royalty Aaron Neville and Dirty Dozen Brass Band, he’s toured the globe playing fiery guitar everywhere from Madison Square Garden to Japan’s Fuji Rock. His blue eyed southern soul vocals ooze raw emotion and his top-of-the-line songwriting chops bring everything together. With hundreds of original compositions to his name McLean creates a musical gumbo that incorporates New Orleans soul, Delta blues, middle America roots and New York City swagger.

On February 23rd, 2018 the Jamie McLean Band, which also features Brian Griffin on drums and Ben Mars on bass, is gearing up to release their long awaited new album One and Only. Recorded at the famed Sound Emporium studios in Nashville, One and Only captures the band’s strongest songwriting to date. The album was produced by Ken Coomer of Wilco and features special guests Sam Bush and Jeff Coffin of Dave Matthews Band.

Today Glide is excited to premiere the album’s title track. From the opening riffs and verses, it’s clear Jamie McLean finds a major influence in Tom Petty. It helps that, like Petty, he seems to have one of the tightest bands in rock music. The song has that straightforward, no frills American guitar rock sound that is increasingly hard to find in today’s music. The twangy flourish of a steel guitar, soaring harmonies and catchy chorus, not to mention McLean’s heartfelt songwriting, also bring to mind Americana and alt-country favorites like Jason Isbell, Whiskeytown, and the Jayhawks. If “One and Only” is any indication of the rest of the album, then there’s no doubt the Jamie McLean Band have successfully captured the explosive magic of their live shows in the studio.