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Baby Baby

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Baby Baby – U Good? (out September 16th, 2022)

The mid to late 2010s were quite a whirlwind for the freewheeling Atlanta band Baby Baby. There was a wild summer spent traveling with the Warped Tour and slots at top festivals like AFROPUNK in Brooklyn and Riot Fest in Chicago. There was the time a well-known beverage company paid to fly the band across the country to record with a famous producer. “That was cool,” percussionist Colin Boddy says with a chuckle. “And weird.”

And then there were the shared stages with big names from across the musical spectrum, like Black Lips, Bad Religion, Run the Jewels, The Internet and Save Ferris. When you line ‘em up, they actually reflect Baby Baby’s wide-ranging sound: A rowdy, rhythm-driven collision of punk, rock, hip-hop and funk that the band would bottle and sell as Good Times Fuel if it could. “We are the party, so don’t be late getting on board with us,” lead singer and guitarist Fontez Brooks says. “Or yourself. You’re swaggy, so let ‘em know you’re swaggy.”

One spin through Baby Baby’s new album U Good? – their first in six years – and you’ll hear why they can play shows with both SoCal punk legends and ATL rap royalty. But you’ll also hear more than a hint of newfound maturity within these nine songs, as well as a persistent sense of nostalgia for bygone times. “Your 30s can be great for a lot of reasons. You have more money. You can do more shit. You have more autonomy that way. We’re not sleeping on wood floors and couches anymore,” Boddy says. “But there is a sense of longing for the freedom of youth, too. When you look back, you’re like, ‘Oh man, we were really hustling.’”

Brooks concurs: “We’re just a bunch of nostalgic dudes. We love that part of our lives. No offense to the apocalyptic nature of the now, but there’s something beautiful in nostalgia.”

Exhibit A of this theme on U Good? is a song called “90s Stuff” built from big beats, buzzy guitar riffs and pure, uncut yearning for yesteryear: “It’s a party all night long,” Brooks sings in the song’s shout-along chorus, “and we’re listening to ‘90s stuff, where we all belong.” Elsewhere, “Petty Mayonnaise” sports a pop-punk pace and multiple killer hooks as Brooks sings about finding stability in life, even if it doesn’t quite look like he expected it to look half-a-lifetime ago. “It’s about stuntin’ on your old self by giving your new self kudos,” he says with a laugh.

And then there’s “Here,” a song with a wiry groove and a hip-hop coda that’s ostensibly about Atlanta, but it’s also about anywhere and everywhere and everyone. “Wherever you are, you’re ‘here.’ It’s your version of here,” Brooks says, his mind turning toward the rapid gentrification of his home town in recent years. “And you have to appreciate the here because you never know when they might tear it down.”

Baby Baby has called Atlanta home for a long time, but the band actually formed via MySpace in 2009, when Brooks and drummer Grant Wallace were students at the University of West Georgia in Carrollton. After a couple years of writing, recording and rocking shows there, they moved 50 miles east to the big city, where Boddy and bassist Hsiang-Ming Wen joined the fun. They released two albums – 2014’s Big Boy Baller Club and 2016’s Semifamous – that helped fuel the aforementioned whirlwind, which carried Baby Baby through to the end of the ‘10s, when burnout set in – just, as it happened, around the same time the COVID-19 pandemic forced the world into an extended break. “I think we all just needed a few minutes. I know I did,” Wallace says. “It created this perfect time to chill for a bit.”

But chill time is over. Baby Baby is back with their best album yet, one that proves even the grown-up version of the band is a hella good time. And there’s more where that came from: Brooks, Boddy, Wallace and Wen say they’re ready to write more songs and make another record, and they think the world is ready, too. “We’re trying to make more room for absurdity and fun and escapism in rock,” Boddy says. “After the past couple of years, maybe you don’t want to just cross your arms and bob your head for an hour. Maybe you just want to let loose for a little bit. That’s what Baby Baby has always brought to the table.”

“Passionate…emotional honesty has never been more joyful.” – AFROPUNK

“The connoisseurs of fun rock.” – WABE

“[Baby Baby] channels an Art Brut kind of thing — only not so punk, and more rowdy, with a heavy dose of swag.” – Creative Loafing

“Infectious…Blending perfectly with their punk-fueled instrumentals, the band continues to prove how intentional they are in their work.” – Immersive Atlanta

Sonja Midtune

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Los Angeles singer-songwriter Sonja Midtune has moved from the acoustic, nostalgic, sad-girl tunes of her previous albums and has plugged in her electric guitar to bring us her new uplifting indie-electronic EP, Golden Girl (out Nov. 11).

“I’m just tired of writing sad songs” Midtune says. “I was fed up with myself and wanted to have more fun with my music, so I made music that was more up-tempo, more flavor, with the ‘volume stuck on high’.”

The 5-song EP is inspired by the title track “Golden Girl”, a song that Midtune wrote several years ago, but had a different energy than the rest of her music. After being pent-up during the pandemic, she was ready to record it and make more songs with this new, raw energy.

“It was a crowd favorite but didn’t seem to fit into the rest of her set.” Midtune says. “A few years ago, an extreme situation got me used to extremes. When things settled down, I missed the highs and lows. I had to put that feeling into a song to get it out of me.”

Sonja recorded the “Golden Girl” single with producer Sean Oakley. The song inspired them to record four more songs for an EP.  Oakley’s experience engineering for Rick Rubin (Kayne West, Lana Del Rey, James Blake) and his producer experience (Georgia, CHAMPS, La Roux) give a unique indie-electronic twist to Midtune’s music. All while keeping her lyrical signature that lands somewhere between Sharron Van Etten and Cate Le Bon. “Golden Girl” features Midtune on electric guitar (her new custom Trussart), as well as acoustic and synths, Oakley on programming/production, Michael Champion (CHAMPS) & Mikey Wagner (Andrew McMahon) on bass, and was mastered by  Rupert Stansall.

“The recording process was 100% fun 100% of the time,” says Midtune. “Every song had a magical recording moment which is what I call when you start experimenting with instruments and come up with the perfect sound by accident. ‘Golden Girl’ has this moment with the do-doo guitar lick in the background. I would go home from the studio absolutely buzzin’ and sometimes I was scared we weren’t going to be able to have the same energy while recording the next song, and then we would!”

Midtune’s previous ‘sad song’ releases have resonated with her audience, and her last EP, Dreams Melt Away (2020) proved to be a big stepping stone in her career. She created four hand-made candles sold as a “listening experience” to go with the four tracks of the EP and completely sold all of her stock several times over. Songs from the EP were played on over 70 radio stations around the country, and almost a year after she released it, her song “Pretty Please” gained wild traction on TikTok and has jumpstarted a new page in Sonja’s career. With nearly 30k followers and her videos reaching 500k views, her monthly listeners have increased 10x in the last few months alone.

“I don’t consider myself to be a so-called TikTok artist,” says Midtune, “since I’ve been releasing songs for eight years, but I certainly don’t mind the new fans!”

Upon releasing the Golden Girl EP, Midtune will release a Golden Girl candle, tour the Pacific Northwest, record acoustic versions of the songs, make music videos, and continue to organically grow her fan base. The music video for “Golden Girl” will be out this fall, and Midtune is already writing songs for her next EP, so we can expect much more music in the future.

“Sonja’s voice, honeyed and rich, infuses the lyrics with delectable timbres of sadness laced with quixotic passion, as she reflects on the electrifying energy of love.” – Guitar Girl Magazine

“Her vulnerability is as fetching as the harmonies that she unleashes in the track, which are quite possibly the most earnest and solicitous of any she’s ever recorded.” – IndiePulse Music

“Straddle[s] the line between dramatic and catchy pop, and earthy folk and Americana. She does this all with a sense of honesty and confidence.” – Glide Magazine

“On the indie folk edge of the Americana music amalgam, Sonja Midtune will beguile you with her carefree style.” – Americana Highways

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Northern Transmissions premieres ELPENTHE’s new single “Forbidden,” featuring vocalist Josh Dean

ELPENTHE AKA: Elliott Beenk releases his new EP, ELPENTHE I, a five track collection of electronic and R&B-inspired bedroom-pop grounded in a love of connection mixed by Kevin Smith (Harry Styles, Phoebe Bridgers, Frank Ocean) and mastered by engineer Stuart Hawkes (Lorde, Charli XCX, Amy Winehouse). Today, the multi-artist has shared the album highlight “Forbidden.” READ MORE…

Flarelight

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Nashville-based synth rock duo Flarelight consists of the current percussionist for Queen + Adam Lambert, Tyler Warren and Eventide endorsed guitarist, Rachel Brandsness. The two are getting ready to release their second album, The Light We Make (out November 11). Brandsness has played with numerous groups, providing the opportunity to open for bands such as Evanescence, Neon Trees and Halestorm, while Warren has been busy touring the world and playing to sold out arenas, even recently performing at Queen Elizabeth II’s Platinum Jubilee at Buckingham Palace. 

The music of Flarelight’s new album The Light We Make is, plainly, a sonic meteorite. As it plummets through the thick atmosphere of music history, stripping away layers of stylistic artifice, it streamlines itself as it prepares for impact. With an ingrained appreciation of the greats and an even greater ear for technological innovation, Flarelight’s new album shows the band in top form, combining effortless melody with the hard rock edge of their forebears.

These songs embrace modern production techniques and the gauziness of current indie pop mainstays like CHVRCHES and Phantogram while leaving plenty of room for MC5 guitars to slice through the mix. To hear them tell it, their lifetimes of experience allows them to seamlessly “thread melody into hard rock.” Easily one of the band’s most discerning traits is that nearly the entire project is an “in-house” affair, a pure distillation of the band’s style, ethos, and prowess. Not only did the bands two leads self-produce and engineer the entire album, but Tyler Warren himself also mastered and mixed it (not to mention Rachel Brandsness’s beautiful cover art). What you get from all of this is an artistic outlier, a vision encapsulated and preserved from start to finish, and best of all, one that has no shortage of killer jams. 

Cleverly letting each song speak for itself, the band marches through a variety of genres (e.g. synth-rock, hard rock and shoegaze, just to name a few) but are held together through Brandsness and Warren’s virtuosic riffs and fiery back-and-forth vocals. Leading off with single “Make Me Sick,” the album recalls the more driving and melodic Queens of the Stone Age cuts, like if Josh Homme worshiped Robert Smith instead of Iggy Pop. The vital drums and pronounced riffs rebel against the melody, creating a tension that finally finds release in the sweltering chorus as Warren intones “You are the drug that makes me sick!”

But hard-edged songs like “Make Me Sick” only serve as the tip of the iceberg of what this band is capable of. Ripping guitars serve elsewhere to punctuate brooding synth-rock on “The Wolf,” and even morph into earth-shaking shoegaze on album highlights “Your Love is a Phantom” and “Little Black Dress,” which serves up a sticky wordless chorus. 

Elsewhere, Flarelight’s deep cuts serve to display their range as songwriters and musicians. “One More Night” presupposes the musical bombast of late-era Baroness with the spinning melodic crescendos of Florence + the Machine. “Entranced” similarly marries dream pop washes of guitars with earnest rock balladry, creating one of the album’s many showstopping moments. 

The two bandmates originally linked together when Tyler recorded and produced Rachel’s solo record. However, it wasn’t until years later that Tyler began considering his own solo project, choosing instead to form Flarelight with Rachel after initially hitting it off. Their debut, 2019’s Glimmer, showed what the two were initially capable of, but really serves to draw back the curtain on each’s talents, unfurling rhapsodic melodies and shattered guitar lines. 

For the time being, the band is going full force into their sophomore album, which is accompanied by a 
self-directed music video for early single “Make Me Sick.” Though tour dates have not been announced
yet, the band fully intends on touring this album in the coming months. One thing is for sure, with the
undeniably thunderous playing on The Light We Make, we all look forward to experiencing their alchemy in the coming months.
 
“A 2-piece making the sound of like, a 7-piece, and I gotta be honest, every once in a while a new band comes along and their music takes you on a journey…This is a journey you want to go on.” – Andy Herrin, 102.9 The Buzz, Nashville, TN

Moon Shine

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Brooklyn-based alt-country/Americana singer-songwriter Moon Shine (aka Angie Glasscock) manages to tread a fine line on her debut LP, The Land in Between (out Nov. 11), an album that sounds fresh and effusive while reflecting a decided reverence for tradition. It’s a rich and resilient combination of soulful ballads, upbeat Americana and unfettered exuberance, a rare dynamic for an artist who’s taking her first bow. Her tenacity and drive are emboldened by her music’s intimacy, as stirring vocals flow effortlessly between plaintive melodies and truth rings out from the joys of chronicling a storied past with a bittersweet release.

The first few songs Angie wrote leaned country, so it seemed natural that the band should be called “Moon Shine.” Though, there’s more to it than just that: “The Moon is a female symbol,” says Angie. “The name ‘Moon Shine’ refers to women shining.” 

The Land In Between was overseen by acclaimed producer and guitarist Teddy Kumpel (Joe Jackson, Feist, Rickie Lee Jones) at Atomic Sound in Brooklyn, and together they assembled an impressive array of veteran A-list session players, including bassist Cat Popper (Jack White, Willie Nelson, Levon Helm), drummer Steve Williams (Sade, David Byrne, Keith Richards), keyboard player Todd Caldwell (Stephen Stills, James Taylor, Bonnie Raitt), fiddler Charlie Burnham (Martha Redbone), with Mark Spencer on pedal steel (Son Volt, Lisa Loeb), Michael Blake on tenor saxophone, Bruce Harris on trumpet and the late Don Heffington (Emmylou Harris, Bob Dylan, Lucinda Williams), playing drums on “I Tried to Keep on Loving You.”

While those names alone may bring immediate attention, Angie makes her own lasting impressions. Her songs are autobiographical, yet capture sentiments felt by so many people at a time of distancing and distraction—love, loss, longing, and a desire to find comfort and security in a place that can be called their own. These emotional insights are shed from a deeply personal perspective. The soulful title track, with its echoes of classic Stax soul and its nuanced narrative, provides an ideal introduction to real life circumstance: 

“I was born in Memphis / But didn’t stay long / My family moved to Los Angeles when I was nearly three / Soon Daddy left Mommy / Went back to Tennessee / Staring out the window /
At the land in between California and Tennessee”

Her songs – save for the excellent cover of Lucinda Williams’ “Right In Time” – resonate with lessons learned in the process of finding a way forward, from the upbeat optimism and exuberance found in “Better a Pearl,” and the easy, country caress of “Songbird of the Mountains,” a song about Angie’s mother, written from the perspective of a potential suitor.

“I Tried to Keep on Loving You,” the first song she ever wrote, is a classic country ballad delivered with a smooth sway and twangy sashay. We are then met with the sheer soul, shimmer and unbridled emotion of “The Promise,” featuring a tender duet with Charlie Burnham. “Exile of Youth” is about Angie’s father, immersed at once in remorse and reflection, and flush with acoustic slide guitar that might just put a hole in your heart…“the size of Texas.”

Born in Memphis and raised between Los Angeles and Nashville, Angie spent her childhood living in two very distinct and distant worlds. “My parents split up, soon after we moved to L.A. for my father to train with the surgeon who created the cochlear implant, Bill House,” she recalls. “ My mother made it clear she wasn’t going anywhere, content in California, so that’s how I ended up going back and forth in order to spend time with both of my parents.”

Angie attributes her first musical influences to her mother, who grew up in the mountains of North Carolina. “Music was always around the house, and my mother loved to sing and dance. She did this funny dance that used to embarrass me, called clogging. It’s a little bit like tap dancing, mostly just moving your feet in rhythmic patterns, while the rest of your body stays relatively still.”

After dropping out of college, it dawned on Angie that she might be an artist. “I was very withdrawn and very much in my own head,” she explains. “If I had a different family life, I think I might have been a songwriter at a younger age. I wanted to express myself, but somehow I just wasn’t ready. I never thought I had the ability, but then once the first song came, I wanted to keep writing. “I’m looking forward to sharing all this music live, for the very first time.”

Angie has been kind enough to deliver the intensely intimate, autobiographical roadmap that is The Land in Between, an intoxicating debut from Moon Shine. It’s no wonder she plans on pivoting on the next batch, leveraging a “less personal, more character-driven” narrative. Digging her heels into the NYC music scene, Angie will be performing her first gig with the band at Pete’s Candy Store on September 17, 2022.