Too Weak To Ramble

Tidals is a collection of songs that I recorded at home this summer with the exception of the full band version of Designated Driver that was recorded by Jason Finkle with Ben Husk, Justin Mantell and Darin Thompson at the Converse Rubber Tracks studio in Brooklyn, NY last fall. This summer has been a series of ups and downs and I got a new fuzz pedal. All of which can be heard in these songs.

Disposable America will be releasing Tidals as a limited edition (100) tape accompanied by digital download on 8/27.

Tidals
1. Climb
2. Tomorrow
3. SDH
4. Vacation Homes
5. Designated Driver (CRT session)

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disposableamericaonline.com

Tomorrow

Untitled

From the debut album from Fayetteville, Arkansas' Swimming.

For fans of Caveman, The Antlers, Real Estate

Pre-Order LP: http://oldflamerecords.bigcartel.com/product/swimming-feel-not-bad-vinyl-lp-pre-order
Pre-Order CD: http://oldflamerecords.bigcartel.com/product/swimming-feel-not-bad-cd-pre-order

Feel Not Bad

Some Dreams Come True

Buy Vinyl

SW/MM/NG - Some Dreams Come True

mr. Gnome's fourth full-length album release, The Heart of a Dark Star, available November 18, 2014 on El Marko Records.

©2014 El Marko Records
ASCAP

Melted Rainbow

Track off of her forthcoming album Don't Weigh Down The Light, out June 23rd!

Meg Baird- "Counterfeiters"

From the hard-edge hip hop of Death Grips to the Jack White-baiting blues of Dirty Beaches, we've collated the 25 most exciting new acts pricking our ears right now. Listen to them all via our online Radar Mixtape and pick up this week's issue of NME (on shelves in the UK on August 10) for more. Plus for all your new music needs check NME.COM/newmusic daily.

Dirty Beaches - True Blue

Makeout

Motel Blues - Bombay Bicycle Club

I'll be waiting for it

YELLOWBIRDS
Songs From The Vanished Frontier

Available May 28, 2013 from The Royal Potato Family

http://yellowbirdsmusic.com/

'Songs from the Vanished Frontier,' the second album from New York’s Yellowbirds, includes love songs and breakup songs, happy numbers and sad numbers, tunes about not believing in the truth and, alternately, tunes about delivering it. There’s bracing rock ’n’ roll and bubbling folk, drifting jangle and swiveling R&B. But the thread that unites these nine instantly affecting songs is their search to find the signal amid the noise—that is, to understand the world and its whirlwind and to deliver just a little bit of clarity every three or four minutes. “What have I believed in?” Sam Cohen sings toward the end of the title track, his voice a near-murmur that peeks out from beneath the ashes of a smoldering empire. “How will I deceive me now?”

That quest for answers and assurance suits Cohen’s backstory: After the 2009 end of his longtime vehicle for wild, radiant anthems and experiments, Apollo Sunshine, Cohen thought his musical career might be over. But a clutch of songs he wrote in his bedroom soon found currency with a few New York musicians, and they started developing and playing them under the name Yellowbirds. The band’s 2011 debut, 'The Color,' received favorable reviews, with Pitchfork Media noting that the record espoused “an endearing raggedness … as though Cohen invited you into his living room.”

'Vanished Frontier' hinges on the same intimacy, but you’d never mistake it for a living room project. Indeed, for the first time, Cohen and his now full-time band (drummer Brian Kantor, singer/bassist Annie Nero, her husband and multi-instrumentalist Josh Kaufman) had their own studio in which to build the new songs and sounds.

“I knew the sonic possibilities were broader than ever before, so I made a point to write the entire album on an acoustic guitar before delving into recording,” says Cohen. “I wanted to believe in the songs in their rawest form.”
	
Again, he wanted to keep the signal clear from the noise, and that’s precisely what Vanished Frontier achieves. It’s not a fussy album, overpopulated by a load of special guests and strange accessories. And Cohen’s brilliant guitar playing is never flashy so much as it is functional, sending simple lines through a web of carefully chosen effects to help illustrate the stories he sings. On “Vanished Frontier,” for instance, the arid guitar seems to be shaking its world-weary head every time Cohen uncovers another lie; during the lovelorn equivocation of “Mean Maybe,” the six-string solo warps the blues into a pattern that’s as fractured as Cohen’s feelings. 

That’s not to say, of course, that these songs are spare or stripped in any way. This is still Sam Cohen, of course, draping and dressing these tunes with spectral harmonies and backmasked voices, decorative percussion and interwoven textures. It’s just that these songs now stand on their own and then glow in the presence of the band and the studio. In the end, then, the noise supports the signal.

Untitled

AdrenFlores

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