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Search Results for: Что такое любовь Цитаты детальнее bit.ly/psy3000

Late Cambrian

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Late Cambrian – Future Snacks (out September 23rd, 2022 – Mifflin Street Music)

On their new album Future Snacks, John Wlaysewski and Olive Hui—the creative and romantic partnership behind the Brooklyn-based future-pop/indie-rock duo Late Cambrian—have crafted a work of art that explores the many facets of modern social consciousness while still giving listeners a reason to dance. From the fear of impending technocracy and corporate-sponsored nostalgia to the uncertainty of the future and long-term emotional effects of the pandemic, Future Snacks is a record that is concerned with ideas and questions, with the acceptance that answers may be hard to find.

Future Snacks is both musically and thematically diverse while never feeling derivative or out-of-control, an impressive feat that is largely testament to the unique partnership between Wlaysewski and Hui. The record was recorded in Wlaysewski and Hui’s Brooklyn apartment, with Wlaysewski acting as the primary songwriter, producer and arranger, and Hui acting as a production consultant and editor while also contributing vocals, lyrics, and keys throughout the record. 

“I played 98% of the music on this record, but Olive’s input is so important,” says Wlaysewski. “When we write, Olive plumbs the depths of her unorganized imagination and then I try to organize those ideas into something that has rhythm and melody. I tend to be more rational, which drives the sound of the songs, but then sometimes some barriers need to be broken, and that’s where Olive comes in.”

The album kicks off with “The Last Wave” a dance-rock track that showcases the duo’s melodic prowess as Wlaysewski’s vocals float atop buzzy synthesizers and a pulsing rhythm section. On its surface, the track serves as a festival-ready indie-pop song belying its nature as a subtle introduction to the album’s ominous tone. 

“Catching the last wave feels like something really upbeat and positive,” says Wlaysewski. “But there’s this underlying feeling of grabbing life by the horns before it’s over, that something ominous is on the horizon. Like, it’s the last wave before what?”

There’s a pervasive darkness churning beneath the bubbly surface of each track on Future Snacks. The album’s title track, inspired by Wlaysewski’s time organizing and running sound at underground cannabis events in Manhattan, explores the exciting but unsettling disconnect of  being the architect of your own experience, physically present but acutely aware of the manufactured nature of the event, and the ever-present reality of mortality. 

“We were originally going to call the album Future Ghosts, but I thought it was too grim,” says Wlaysewski. “Future Snacks came out of that idea of planning for a party, creating an experience, but then underneath that there’s the creeping sense that it can all end at any time. In a way, we’re all future snacks.”

Elsewhere on Future Snacks, Late Cambrian dive head first into the metaverse, as the future-pop masterpiece “Sydney Sweeney” explores the horror of being terminally online, escaping reality and embracing the downward spiral. After three minutes of genre-bending synth-pop and biting lyrics skewering the endless scroll, the duo close the album with a heavily modulated, “It can’t be worse than last year, humanity says proudly: ‘Hold my beer…’” 

Late Cambrian first formed over a decade ago after Wlaysewski and Hui met while working on set on an episode of Nurse Jackie. Almost immediately, the duo started writing and releasing music together, and released four LPs over the course of seven years. Now, with Future Snacks, Late Cambrian have built on the legacy that they have created, often taking inspiration from their own past works to inspire themselves in the present. 

“Future Snacks started almost as an intellectual pursuit, trying to capture the feeling of a few of our earlier songs on something new,” says Wlaysewski. “It’s kind of like our past life meeting our current life,” adds Hui. 

As for the future, there’s no telling what it may look like, but Late Cambrian are ready to provide the soundtrack.

Future Snacks is out September 23rd, 2022 via Mifflin Street Music.

by Baby Robot Media

Under the Radar Mag premieres Coma Girls’ brilliant new video “Knife”

Los Angeles shoegaze/folk-rock artist Coma Girls (Chris Spino) releases new single "Knife"

Coma Girls is the psych folk moniker of LA-based singer/songwriter Chris Spino. Since their 2015 self-titled debut, the project has undergone a continuous process of reinvention, at times presenting as a band, a solo project, or a rotating coterie of studio musicians. The project’s latest formation is a close collaboration between Spino and producer Christian Paul Philippe, who together have crafted maximalist shoegaze-tinged folk for Coma Girls’ upcoming sophomore record, No Umbrella For Star Flower. READ MORE…

Filed Under: Client Press Tagged With: Under the Radar

by Baby Robot Media

Check out Shawn Williams on the cover of Offbeat Magazine!

Feeling The Darkness: Shawn Williams Is Country-Based With A New Orleans Flair.

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Filed Under: Client Press Tagged With: Offbeat Magazine

by Baby Robot Media

Holler.Country debuts new track from Whitney Lockert, “Everyone Makes a Mistake or Two,” noting that it “mixes the driving country rock of Son Volt with the dry humour and irreverence of Jonathan Richman.”

After nearly a decade in New York City, alt-country rocker Whitney Lockert has found refuge and artistic renewal in Los Angeles and classic country on his sophomore LP, Long Way to California.

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Filed Under: Client Press

by Baby Robot Media

Northern California cattle rancher/Americana artist Steven Denmark shares new single/video at Americana UK

Steven Denmark releases new single "Crazy Over You"

There’s a bit of everything in ‘Crazy Over You’, the latest single from California-based Steven Denmark: there’s melody and catchy hooks, fuzzy and frenetic electric guitar, gorgeously floating pedal steel from Sam Wilson and  plenty of energy. READ MORE…

Filed Under: Client Press Tagged With: Americana UK

Matthew Check

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“The music I record is written when I’m in the depths of despair,” muses Brooklyn-based singer/songwriter Matthew Check about his process of composing music. “It’s usually very painful, dark and depressing.”

That may come as a surprise upon hearing the often uplifting melodies on this follow-up to Check’s 2020’s The Condesa Queen. Push play and immediately, the stirring piano chords of the appropriately titled “The Very Beginning” kick the tune and seven-song-set off on a ‘70s pop/rock tear.  

The Newtown, Penn. bred artist boasts a resume that even the word eclectic can’t fully encompass. Check moved to New York City initially to take graduate classes at the Jewish Theological Seminary. But he spent much of his time playing bluegrass banjo in jams downtown. Eventually, he would combine his love of bluegrass and Judaism into something he dubbed “jewgrass”—which yielded an album colorfully entitled The Bluegrass Kabbalat Shabbat Experience. He was also the first banjo player for Gangstagrass and played on the 2010 Emmy Nominated Song “Long Hard Times to come.”

He then joined The GRAMMY-winning Joanie Leeds for a 2019 set of organic folk/rock credited to Joanie and Matt. That led to a solo stint, where he remains. It has proven successful, attracting positive, often rave reviews from publications as diverse as Holler, No Depression, Glide and Americana UK for previous EPs and the aforementioned album.

Check’s attraction to the rootsy, honest pop/folk/introspective rock of the mid-late ‘70s eventually took hold. The resulting hybrid of that sound—with his authentic vocals, somewhere between Jakob Dylan and the Waterboys’ Mike Scott—dominates and energizes Without a Throne’s approach.

With lyrics ranging from old testament tales (“What a Father Would Do [Absalom]”) to the grim reality of alcoholism (the country strains of the wincingly candid “Old Wooden Floor” about his last month of drinking – he’s been sober and in AA for many years), Check creates a moving, occasionally haunting, and melodically vibrant palette—one that feels contemporary yet grounded in the music of a few decades ago.

Check had to look no further for material than his own family. His brother Jonathan is credited with writing the Elton John-styled “The Way That You Are,” an upbeat pop rocker that deals with unrequited love (“Somewhere deep inside you baby there’s a woman, who needs a man like me /And she’s testin’ the water, in tryin’ to be a friend of mine”). “The Shape It Appears,” another Jonathan song, is a soulful country waltz about being able to see an era so clearly, only after it’s over (“‘Cause life won’t be special for a couple of years/‘Til you look back and realize, the shape it appears”), incredibly penned when its author was in his late teens. The closing Loggins & Messina/Grateful Dead inflected “Because You Can” dates back nearly 15 years. It finds Check in breakup mode again, albeit to a breezy, tropicalia beat singing warm harmonies with backing vocalist Miss Tess. 

There is also joy squeezed between these generally melancholy episodes. On the lighthearted country twang of “Pretty Mama,” Check finds himself dancing in a honky tonk singing, “Come on pretty mamma won’t you take me down to this little hole in the wall on the edge of town/Wanna stick around until the break of day and let a little song take our troubles away.” 

These performances feel alive and frisky. That’s due to how they were recorded, captured live in the studio, generally in a single take; it’s an unusual tactic with today’s technology of isolating tracks and overdubbing. 

Check recorded in Nashville with an ad-hoc group he hadn’t met, assembled by producer/multi-instrumentalist Thomas Bryan Eaton. He’d sent Eaton (who owns a home studio) his demos, letting him do the groundwork in hiring sympathetic musicians before flying down from New York. “It was like someone else got inside my music and arranged it for the band,” he explains. “I’ve never done it that way.” Only longtime drummer Glenn Grossman accompanied Check to anchor the percussion. 

This old-school method put pressure on Check, who played guitar and sang the songs live. “I was so nervous about it. I can’t f**k it up ‘cause we can’t overdub,” he laughs. “It was terrifying…When you record live it’s like you’re your own stunt double. You’re proving to people you can do it.”

The camaraderie Check felt with these professional musicians is obvious in the synergistic, flowing vibe of the sessions. While some songs emerged from challenging times, the music—underlying these dusky tales of life’s trials—feels as alive as the finest, most memorable albums from the late ‘70s, an era Check clearly admires and emulates. 

Add yet another notch on the artist’s belt, a diverse and winding career path, as Without a Throne’s unorthodox creation proves to be a wildly successful next step in Matthew Check’s continuing and flourishing artistic journey. 


“An excellent run of albums in the past few years, both solo and as a part of
Joanie and Matt.” – No Depression
 
“An exquisitely world-weary tone, and more than a hint of 60’s era Dylan” –  Americana UK
 
“A songwriter’s songwriter … Check’s soulful vocals yearn.” – For Folk’s Sake
 
“A rock and roll piano sound with smoky vocals that bring to mind Warren Zevon.” – Glide Magazine
 
“An acoustic guitar driven confessional, heavy with emotion and dripping
with melodic hooks.” – Farce the Music

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