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Moonsville Collective’s “Bright Eyed Stranger” is MAGNET Magazine’s MP3 at 3PM

Moonsville Collective

On December 8, Moonsville Collective will release Moonsville IV, which will mark the final installment of the Southern California band’s four-volume EP series. Moonsville Collective’s 2017 endeavor led to the release of 20 new songs that enter into the band’s self-described “California good-time” canon, though IV, says multi-instrumentalist/songwriter Ryan Welch, “is different than the rest in that we really relied and leaned on our acoustic instruments to guide the sound and feel.” 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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Punknews premieres Cheap Tissue’s new single, “Bag & Number”

Today, Punknews is pleased to debut the new track by Cheap Tissue.

Inspired by the earliest waves of US punk, Cheap Tissue take the ragged edge of the Dead Boys, the hard driving attack of Sonny Vincent, and the crazed-eye caginess of the Weirdoes. This is a tune that hits all the high points of those early singles without falling prey to repetition. This is CBGB style punk in its purest form.

Speaking to Punknews, the band’s Andrew Taylor said, “Bag and number is about some of the people we’ve seen in and around the social aspect of the Los Angeles music scene and some of the behaviors we’ve seen displayed. Many of our tunes have a touch of social commentary here and there, but we usually just like to piss it and have a good time. The bag of drugs and list of phone numbers is all some people have — no real friendships, artistic pursuits or endeavors whatsoever. They’re just leeches at the bar. The kind of people that are just looking for the next party or looking to climb some social ladder that we could give a shit less about.“

The track is off the band’s self-titled debut. Check it out below, right now! 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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Immersive Atlanta Premieres Wanderwild’s “Day 31”

Matt Martin, aka Wanderwild, is preparing the release of his new LP, In Due Time, but the Athens artist and producer found the time to unveil one more single before the album officially drops tomorrow. “Day 31” is a pulsing, pop-inflected number that examines the potential for both majesty and melancholy in life’s banal repetition. The song’s methodical beat, combined with its rippling guitars and Martin’s soothing falsetto, places it on similar aesthetic grounds as his debut, Fleeting, but there’s also a confidence and ease here that was lacking from that first EP. Some of that, of course, is due to experience and practice, but to hear Martin tell it, it’s also about him coming to terms with his own purpose and intentions as an artist.

“Music for me is often about unpacking the relationship between cynicism and optimism and existential uncertainty,” he explains in the album’s press release. “It’s about finding personal balance through sound and texture and space.” 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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John Goraj’s Video for “Adventheart” Premieres on The Young Folks

John Goraj is an indie-folk singer/songwriter, who recently released his new LP titled The Patience of Glaciers. The South Dakota native’s new LP is a follow-up to his album, Seen and Unseen, which was released in 2013. Goraj’s sound can be labeled as airy and light folk where acoustic guitar carries the melodic tune. The EP has four tracks and includes “Adventheart” which has an accompanying music video filled with visuals that perfectly match the tone of the song. “Adventheart” has a beautiful, relaxing tone that finds the right blend of simplicity, spirituality, and love and the video captures the tone perfectly. 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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The 405 premieres diNMachine’s new single, “LAGE D’OR”

diNMachine, the experimental pop project of Michael J. Schumacher, is releasing their third album, The Pleasure of Principles, on February 9. Today, The 405 is happy to premiere the first single, ‘L’AGE D’OR’.

The project started in 2012, but Schumacher has long been an active and utterly unpredictable creative force. Trained in classical piano at age five and educated at Juilliard, Schumacher took his talents to New York in the 1980s, becoming part of the experimental scene, where he worked with the likes of Borbetomagus, Charles Curtis, David First, and Elliott Shar. He then started taking on ambitious sound installations projects and exploring the depths of what sound systems are capable of, such as developing a “wavefield synthesis” system in Berlin, comprised of 8000 speakers. Despite all the wires and knobs Schumacher tangles with (and in the case of the former, untangles, no doubts), he’s not looking to alienate.

“My secret intention,” Schumacher says, “Is to make pop music. 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.”

On ‘L’AGE D’OR’, Schumacher shows a clear understanding of how to balance the melodic with the abrasive. Steady and pleasing loops are mixed with more churning sounds, like a smooth nighttime drive being suddenly interrupted by traffic snarls. Along the way, percussive breakdowns (both acoustic and digital, courtesy of Schumacher’s collaborator Alex Goldberg) and electronic gargling add to the maddening, yet strangely satisfying effect. If you find yourself in bumper-to-bumper traffic, you might want to flip on ‘L’AGE D’OR’ to properly soundtrack your frustrations as you grit your teeth and jab the horn with two densely-packed fists. Alternately, you might just put it on if you’re in the mood for some outstanding electronica. 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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The Vinyl District reviews MERCH’s Amour Bohemian LP

MERCH is headed up by San Franciscan Joe Medina, and Amour Bohemian is the project’s latest album. Best described as ambitious symphonic pop-rock, roughly 65 musicians had their hands in its creation, yet it’s unequivocally an auteur-driven work, and one that thrives on discipline. Even more so, it benefits from concision; a whole lot of new music is getting pressed onto vinyl these days, but little of it radiates like a nugget from the heyday of the long-playing record quite like this specimen, while still connecting as contemporary. Buyers will surely load these nine songs onto their devices, and they work well in that context. However, this one sounds best in the listening room. It’s out now through Sassafras Records.

When I first glimpsed the sleeve of MERCH’s 2012 LP This Betrayal Will Be Our End, I did a double take, for that album’s cover photo and the snapshot adorning the jacket for Undercurrent, the classic 1962 duo set from pianist Bill Evans and guitarist Jim Hall, are one and the same. The gesture immediately registered as homage, but even as jazz fits into Joe Medina’s teeming bag of influences, soaking up the record drove home my assumption as off-target.

Before its usage by United Artists for the Evans/ Hall disc, Toni Frissell’s photograph, Weeki Wachee Spring, Florida was well-known, appearing in Harper’s Bazaar in ’47 and Sports Illustrated in ’55. For Undercurrent, the image is eerie but tranquil; when the sharp black & white is combined with Medina’s album title and songs, the mood becomes considerably more noir, adding a distinctively dark spin to what’s been categorized as a breakup record.

This Betrayal Will Be Our End isn’t MERCH’s debut, but even as nothing the outfit released prior appears to be easily obtainable, the album still strikes the ear as a major artistic stride, and as such, presented a difficult act to follow. But through the participation of the Prague FILMharmonic Orchestra, a Latin jazz band, opera singers, and a rack of psych, garage, and jazz players out of San Fran and L.A., Medina has pulled it off.

The new record’s cover is also illustrative, featuring a photo of the artist in profile, unfussily denoting that the boldness of its contents is ultimately attributable to one human focal point. This design choice enhances the “classic” aura, harkening back to an era when a pop auteur’s likeness was readily used as a selling point. But for all this, opener “Don’t Wait Too Long” makes abundantly clear that Amour Bohemian is a byproduct of the moment.

The song’s raucous flights of hard rock bombast intertwine with an assertive arrangement for strings, and Medina’s vocals move from upper-register soulfulness to deeper singer-songwriter-ish candor to assured pop-rock frontman swaggering, all without a snag. Structurally audacious and full of surprises (it feels like a spoiler to spell out the finest twist), the whole also profits from a palpable sense of control as it leads into the decidedly ELO-ish strings and sophisto guy-gal vocal tradeoff that’s “Artist & the Muse.”

Medina clearly loves his crooners, and a photo capturing him in a blue blazer holding a flaming rose in his clenched teeth could possibly trigger thoughts of retro caricature, but thankfully that doesn’t come to pass; if playful, the music here is ultimately quite serious, nowhere more so than in the lyrics, which are strong enough that printing them wasn’t a bad idea.

“Two Hearts” merges ’60s-style orchestral production-pop with Medina’s mildly Scott Walker-esque delivery, and the flourishes of Spanish horns and the burst of hard rock guitar help to secure the cut’s success. But perhaps the crucial aspect is a string arrangement that’s not just bright and limber but robust as it delivers some unexpected woody tone passages.

“Marriage” might initially saunter too brazenly into ’60s AOR gestures for my taste, but I also can’t deny that the musical execution, which includes choral swells, Hawaiian pedal steel, and low register reeds (I’m thinking bass clarinet) elevate matters far above pastiche. This scenario extends into the big-band-ish vocal pop landscape of “The Only Love I Understand,” though a large dose of fuzz guitar and a full-on wailing arena rock solo undercuts the sunshiny tendencies of “According to the Doctors” without coming off as a stylistic subversion.

With “Ten Quetzales,” the album dishes an extended highlight in the homestretch, reinforcing the knack for large-scaled arranging that’s likely to please fans of Nelson Riddle, but with naturally flowing eccentricities and again, modern flair, that continues to set matters apart. “The Wine Will Flow” reduces the sweep (if not the length) somewhat, though its lounge-tinged ambition eventually bursts into jazziness; “Pinewood & Roses” spotlights those opera singers in a tidier serving of cinematic imagery and guitar strum that ends the LP on a high note.

The contents might not bask upon a single high plateau throughout, but neither do they crater, and the strongest selections bookend the runtime. For all its grandness, the record isn’t strained, and neither does Medina seem creatively spent. This bodes well for future MERCH developments, but anyone interested in the possibilities of symphonic pop and classically-minded songwriting shouldn’t sleep on Amour Bohemian.

GRADED ON A CURVE:
A-

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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.