Maker // Designer // Dreamer // Figure-Geezer

Undomesticated synth pop out of Brooklyn. 

all requests: teencommandments [at] gmail.com

From NaPodPoMo to cycling to random musings and happenings around town.

One of America's few white, middle-aged rapper, rockin' the cul de sac and bumpin' in the burbs.

THE WAY I GO was recorded in Austin, Texas at East Austin Recording (EAR) & Engineered by James Stevens. It was Produced by James Hyland & Eldridge Goins and Mixed at Mixorama in Austin, TX by Eldridge Goins. 

Mastered by Jim Wilson.  

Executive Producers - Ken Fessler, Elizabeth Cates, Duggan Flanakin & Danny Lee. 

Album Photo by Todd Wolfson  
Vinyl master cut by Golden Mastering. 
Vinyl pressing by United Pressing in Nashville, TN. 

All songs written by Amanda Cevallos except for Ready For the Times (written by Alan Reynolds and translated by Alex Ruiz) & All My Boyfriends (written by Amanda Cevallos, Will Knaak & Adrienne Essmann)

THE HIGH HANDS & FRIENDS 
Pedal Steel - Danny Hawk 
Drums & Percussion - Eldridge Goins 
Electric Guitar - Jimmie Dreams
Bass - Vance Hazen 
Acoustic Guitar - James Hyland -  Tracks 2,3,4,5,7 & 8 
Piano - Earl Poole Ball – Tracks 2,5,6 & 7 
Acoustic Guitar - Amanda Cevallos - Tracks 1 & 6 
Mandolin - Matt Slusher on Track 4 
Harmonies - Jorge Castillo, Brennen Leigh, Eldridge Goins, Jimmie Dreams & Amanda Cevallos 

Special thanks to Janet Lynn for providing me with vocal lessons for this recording.  

THIS ALBUM IS DEDICATED TO MY BELOVED MOM, FRANCES CEVALLOS. I LOVE YOU SO MUCH!!!  

© 2020 Amanda Cevallos

MaryAnn and the Revival Band are a country swing / rock n'roll band based in Austin, Texas. The Group was formed in 2009 when Ray Flynt and long time friend and band mate Matt Hudson began recording songs that had been written when they played together in late hours of the night. Drawing heavy influence from Hank Williams, The Kinks, The Band and Gram Parsons, the songs began to catch the attention of close musician friends of theirs, and thus their help was enlisted. The addition of Marina Hendrix's soulful voice was the final piece of the puzzle and MaryAnn and the Revival Band was born.
Every member in the band is a songwriter with a drastically different voice that creates a vast array of ideas and sounds. Though every member has a different musical background they are all children of the south which brings together their warm and dusty sound. The songs range from the dark whispers of a murderous, scorned lover to the joyous shouts of a long awaited homecoming. After years of performing and writing songs they stepped into the studio to record their debut EP "Proper" and are looking forward to a busy future.


https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

The Bus Stop Stallions are a high-energy funky soul/rock band that gets the crowd on the dance floor by injecting old grooves with fresh new moves. Our style is reminiscent of bands like Sly and the Family Stone, Stevie Wonder, Funkadelic, Earth, Wind and Fire and Tower of Power. 



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