Formed as a quartet in Philadelphia, Asteroid no.4 has since become a permanent five piece and now calls Northern California their home. Named after Vesta, the brightest asteroid in our solar system, the moniker is an obvious nod to Spacemen 3, the classic UK band which Asteroid no.4 repeatedly drops as an influence. Over the last decade and a half, they've built a trove of eight full-length albums, well over a dozen compilation appearances, digital-only rarity releases, and multiple single releases.

The Asteroid no.4 sound is a hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic: krautrock, 'shoegaze, folk, and even '70s cosmic country rock. Despite never shying away from wearing their influences squarely on their sleeves, it’s their longevity that has matured them to the point of originality rather than simply homage. It is that same longevity that has enabled them to do whatever they want, when they want, allowing them the freedom to experiment, which certainly makes up the foundation for anything truly 'psychedelic.'

The group's debut record, Introducing, was released to critical acclaim and branded as an, “uncommonly original and innovative space-rock album for the latter 1990s.” Considered a pylon of the "Psychedelphia" scene that also included luminaries Bardo Pond and Azusa Plane, reviews consistently cited Syd-era Floyd, The 13th Floor Elevators, Hawkwind and early-Verve as the inspirations heard on the album and, The Asteroid no.4 wholeheartedly agreed. Following the debut’s release on the band's in-house label Lounge Records, they quickly began touring with the likes of the Brian Jonestown Massacre and Philly brethren The Lilys, the latter having a profound impact on where the band’s sound was headed next.

Now, a decade and a half later, the band is gearing up for the release of their eighth record, aptly named Asteroid no.4. Employing sitars, eastern-tinged sparsity, space-rock fueled anthems, and pastoral folk instrumentals, Asteroid no.4 seems to have hit upon the magic first heard on their debut, but with the mature songwriting that could have only been learned over a journey of this many years.

Recently returning from another tour of Europe at the end of 2013, the band has joined forces with Bad Vibrations Recordings. They are ecstatic to have a new label partner, record, and surroundings that will surely inspire them to continue to write and record for the foreseeable future as Asteroid no.4's story continues to unfold…

Asteroid No.4 - Ghosts of Dos Erres

Asteroid No.4 - The Windmill of the Autumn Sky

Asteroid No.4 - Mount Meru

Asteroid No.4 - Back of Your Mind

Asteroid No.4 - Ropeless Free Climber

Asteroid No.4 - Ode to Cosmo

Asteroid No.4 - Revolution Prevail

Asteroid No.4 - Yuba

The Bulls are a new band from Los Angeles. Singer and multi-instrumentalist, Anna, and guitarist, Marc, met in New York. They crossed paths next in London, then Paris, and again in Indio, California, where they decided to start a band. Finding common ground in ‘80s and ‘90s new wave and shoegaze, they listened to The Jesus and Mary Chain, Siouxsie and the Banshees and The Cure on repeat. With brooding, Nico-esque vocals, reverbed guitars, and lush string arrangements, the Bulls' music sails moodily along over tom-heavy drumming. Having just played their first shows on the L.A. club scene, the band are currently in the studio finishing work on a debut E.P.

http://www.crash-avenue.com/current-roster-2/the-bulls/

The Bulls - Come Unwound

Young Tongue's debut full-length 'Death Rattle' is out 11/11/14 via Punctum Records and Raw Paw Records.

"Heavy Metal Thunder" - Young Tongue

Most PR folks still maintain a buckshot mentality with whom to pitch for editorial content, whom to pitch for exclusives, whom to pitch for premieres, etc.  With most PR companies, (including ourselves earlier on in our development) it appears as if everyone is haphazardly casting the widest net possible just to see what they can get.  That’s ineffective for the artists, and it exasperates the writer who watches their inbox become a monster.  When a writer does decide to feature an artist pitched by a publicist, you then bear witness to posts splattered across the Internet over a number of weeks, while the band’s social networks are not efficiently pointing current fans to an influential writer responsible for good editorial coverage. The band’s social network is not creating the best fan experience, nor are they using their fanbase to help generate new readers to worthy sites with writers who have taken the time to dig into their creation.

No matter how small or large an artist’s fan base is, a structured media roll out has a much greater effect when it’s efficiently managed from all sides – social media, online magazines, blogs, traditional print – across all the visible networks of the artist’s current fan base, as well as our own networks. Correctly implementing this sort of viral sharing, the artist gains a larger potential reach to other fans.

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