Psych

“Future Folklore” appears on Nature Noir, Out Now

iTunes- http://hyperurl.co/naturenoir
CD/LP- http://bit.ly/25DAg0H

Website:  http://www.crystalstilts.com/
Facebook: https://www.facebook.com/crystalstiltsofficial/
Instagram: https://www.instagram.com/crystal_stilts/

TOUR DATES: https://www.facebook.com/crystalstiltsofficial/app/123966167614127/

Crystal Stilts - Future Folklore

Dum Dum Girls on Sub Pop http://www.subpop.com/artists/dum_dum_girls 

"Coming Down" from the 9/27/11 record Only in Dreams
http://www.subpop.com/releases/dum_dum_girls/full_lengths/only_in_dream

Coming Down

Dum Dum Girls - Coming Down

Still Corners on Sub Pop: http://www.subpop.com/artists/still_corners

Creatures of an Hour

Demons

Submarine

BAND: LANTVRN
NOT ENOUGH LIGHT EP

PRONOUNCED (LANT-URN)

TRACKLISTING
1. Prologue: The Swan Is Ecstasy
2. Sleeper/Awaken

Guitar/Vocals - Camerin Kelly
Drums - Alex Quinn
Bass - Casey Barclay
Tambourine, additional vocals, percussion - Eben Stewart
Keys - Neal Shue
Sampling and the Supersonic - Bron Tieman

Recorded at Seahorse Sound Studios in Riverside, CA.  The songs were recorded live, only samples, and minimal percussion were tracked after the initial session.  Only vintage mics, instruments, and amps were used.  No software EQs or compressors.  4 days in total.  2 recording, 2 for mixing.  Mixed on ProTools.  Produced by Bron Tieman of Crooked Cowboy.  Engineered by Samur Khouja. Recorded in April of 2010.

On the final day of mixing, Bron Tieman on his drive home late at night found himself in a rain storm.  He lost control of his 4 Runner rolling it on the 210 Freeway.  Bron was unscathed, although the car was totaled.  The 33 inch marching drums from recording were badly damaged in the crash as well as various vintage equipment.  Camerin Kelly had opted out on the studio that night thankfully.  He would have been sitting in the passenger seat where much of the heavy vintage gear was projected.

Bron has termed his recording style as "MID-FI", "BLISS-FI" or "BLISSCORE" has also been used to define LANTVRN's sound and stage performance.

The songs "Get Us Started" and "Veiled Glacier" were also recorded during the session, but yet to be mixed.

Thomas Mahoney is also credited as a writer on "SLEEPER/AWAKEN".

Thanks to Everyone who was a positive part in the making of this album, the latter have already been forgotten. 

Special Thanks to Jack Parsons

LANTVRN.COM
LANTVRN@GMAIL.com
323.533.0652

Prologue: The Swan Is Ecstasy

LISTEN / BUY - http://www.austinpsychfest.com/store/indian-jewelry-peel-it/

Indian Jewelry’s sixth and most adventurous work to date, PEEL IT sees the uncompromising Houston band venturing further into the darklands of noise, psych, dub, and experimental rock. The band remain flagbearers for the long Texas tradition of outsider rock ‘n’ roll, a grand, precarious history spanning the 13th Floor Elevators and Red Krayola, Jandek and Butthole Surfers. Tracks like “Eva Cherie”– streaming now on SoundCloud– see Indian Jewelry tapping into the primordial consciousness through dissonance and drone, defying easy categorization with fractured melodies, whitenoise, and heavy rhythmic energy.

PEEL IT will be available digitally and on 12” vinyl in two versions: a regular pressing and a limited edition pressing of 500 180g 12” with deluxe packaging. In addition, a limited cassette will be released in partnership with Fullerton, California’s Burger Records.

Indian Jewelry - Eva Cherie

Lonerism

Elephant

A dear friend, who scours Craigslist for a bicycle for me, turned 24 mid-October. 

The Creation - Through My Eyes (Our Music Is Red - With Purple Flashes)

Pre-order the 12" vinyl in your choice of color: http://analogedition.bigcartel.com/product/teen-mom-i-mean-tom-i-ep-12 All pre-orders receive immediate access to a digital download of the EP.

Teen Mom - "I Wanna Go Out"

<b>HVN250
Shelter Song b/w Prisms
7” and download.</b>

The debut single from Temples is released by Heavenly Recordings on Monday 12th November 2012.

Both tracks were recorded in early September and produced by Temples in Pyramid Studios, their home studio in Kettering.

Temples have been confirmed as main support on the forthcoming Mystery Jets tour alongside London shows with Charlie Boyer & The Voyeurs and Tribes. They will also be playing the London Calling festival in Amsterdam.

The dates are as follows:

<b>NOVEMBER</b>

2nd Amsterdam London Calling
3rd Lincoln Engine Shed*
4th Oxford Academy*
5th Cambridge Junction*
7th Brighton Concorde 2*
8th Bournemouth Old Fire Station*
9th Norwich Waterfront*
10th Leicester 02 Academy 2*
12th London Old Blue Last
13th Leeds, Brudenell Social Club w/ Moon Duo
15th London Barfly
29th London Royal Festival Hall* 
 
* with Mystery Jets

Temples are: James Bagshaw (vocals & guitar), Thomas Warmsley (bass & backing vocals), Sam Toms (drums) & Adam Smith (keys).

https://www.facebook.com/templesofficial
http://www.facebook.com/HeavenlyRecordings

Shelter Song

Temples - Shelter Song

Las Robertas - Seconds Away

Buy Wondrous Bughouse' on CD/LP/Cassette http://fatpossum.com/products/wondrous-bughouse

Buy iTunes - https://itunes.apple.com/gb/album/wondrous-bughouse/id604313154


Youth Lagoon "Mute"

Flowers - When You Lie

Palma Violets - Step Up For The Cool Cats

Good news from the void: The Vacuum Dreamers’ second album will soon be unleashed on a suspect world – we can almost hear the splodges of black vinyl hitting the matrix down there in Germany right now. 

“Iris The Serene & Judy The Obscure #2“ from the forthcoming album “Go Tell The Bees” by The Vacuum Dreamers! 

The Vacuum Dreamers - Iris The Serene & Judy The Obscure #2

Subtlety is often an underrated quality. That’s partly why Papercuts’ new album, Fading Parade band’s fourth overall, and first for Sub Pop—is such a breath of fresh air. Papercuts prinicipal Jason Robert Quever’s beautiful songwriting is thoughtful, quietly evocative and simultaneously ambitious. This is dream pop of the highest order, but unlike a lot of contemporary bands that fall under the same sonic umbrella, Papercuts isn’t trying to emulate shoegaze heavy hitters from yesteryear. Instead, Quever’s embraced a gentler, more sophisticated approach to presenting pop music that’s steeped in atmosphere.

“There was so much aggressive music when I was younger, and I just felt like trying something different,” says Quever. “I don’t want to hit people over the head. That’s just not who I am. I don’t necessarily like to be the center of attention.”

Quever may not want to be the focal point at social gatherings, but make no mistake about who is in control of Papercuts. His lush, layered recordings sound like they were made by what’s commonly referred to as a “band,” but Quever is always the one pulling the strings, whether he’s literally doing it on his guitar, producing, or writing. (It doesn’t hurt that he’s a whiz on a bevy of instruments, including organ and drums.) Though Quever continues to refer to Papercuts as a band, he’s finally getting comfortable with the idea of being a lone arranger.

“I’ve always tried to get away from being the bedroom guy, but then lately I’ve been realizing sometimes that’s worthwhile,” he says. “Maybe that’s the school I’m from: trying to make interesting records any way you can, with whoever might be around.”

Papercuts’ first three albums—2004’s Mockingbird, 2007’s Can’t Go Back, and 2009’s You Can Have What You Want—were recorded in San Francisco by Quever at his home studio, Pan American Recording, where he’s worked with artists like Port O’Brien, Beach House, Cass McCombs, Still Flyin’, and The Skygreen Leopards. Pan American was partially used to make Fading Parade, but for the first time Quever also left his comfort zone by heading to The Hangar in Sacramento and handing over some of the recording reins to Thom Monahan (Beachwood Sparks, Au Revoir Simone, Vetiver, Tussle). It turned out to be a great match, and with Monahan handling the technical details, as well as his live band helping out, Quever avoided sweating the small stuff and was able to spend more time being a performer and arranger.

“I didn’t have a heart attack by the end,” says Quever. “It was actually enjoyable the whole way through, and I’m excited to play these songs live instead of feeling, ‘God, I never want to look at a guitar again.’”

Crafted over the course of several months, Fading Parade is meticulously designed pop music, with a fully developed sense of space and a sturdy wall of sound. With the aid of strings, autoharp, Mellotron, Moogs, 12-string acoustic guitars, piano, Echoplexes, analog tape and digital recording, Fading Parade is wide-ranging and adventurous, through the up-tempo jangle of “Do You Really Wanna Know,” the soaring and resonant “Do What You Will,” the moody swirl of “I’ll See You Later I Guess,” the folky, piano-driven “Winter Daze,” and on. Imagine Belle & Sebastian teaming up with Slowdive and recording with Phil Spector back when he was killing it in the studio rather than, well, you know. It’s also Papercuts’ liveliest record, due in no small part to the fact that many of the songs were road-tested before being recorded, and Quever found himself writing with live performance in mind. He also got help in the studio from the guys who have made up Papercuts’ live band over the past two years: David Enos (keyboard and autoharp), Graham Hill (drums), and Frankie Koeller (bass).

“I just knew that we wanted a big sound, like drums that really rang out a long time,” says Quever. “I’d been playing more with a band, so I just thought about trying to get it as dynamic as possible, in a way that’s hard to do recording at home.”

For Quever, both personally and musically, everything seems to be falling into place, and there is an open quality that can be felt throughout Fading Parade. After enduring a difficult childhood that included the death of both of his parents—he credits the four-track he got after his mom died with both helping him cope and inspiring his career—Quever has a record that was fun to make, soon to be released on a label that made taking his ideas into a bigger studio possible. And he even has a band he loves without having to deal with all the usual annoying band stuff.




Fading Parade

Do What You Will

Papercuts - Do What You Will

LISTEN / BUY here - http://www.austinpsychfest.com/store/night-beats-sonic-bloom-lp-cd-mp3-cass/

The Reverberation Appreciation Society is proud to announce the release of the new Night Beats record, Sonic Bloom on September 24, 2013 on vinyl, cd, digital download and cassette (co-release with Burger Records!). In conjunction with the announcement, Night Beats are debuting their new track "Outta Mind" off Sonic Bloom, available for posting HERE.

Recorded in a Tacoma, Washington warehouse, Sonic Bloom is an explosion of reverb soaked rock and soul blended with sharp drone numbers and classic rhythm-and-blues founded tracks. From the haunting psychic groove of 'Seven Poison Wonders' to the sparse Zombies influenced 'Playing Dead' to the squealing ruckus of 'Rat King', Sonic Bloom harkens back to the outer corners of rock and roll radio of yore.

The Seattle-based band have spent past few years relentlessly touring, hitting over 20 countries. The trio -- featuring Danny Lee Blackwell on guitar/vocals, Tarek Wegner on bass/vocals, and James Traeger on drums/vocals -- will keep up this pace, touring this fall in support of Sonic Bloom.

Night Beats - Outta Mind

Follow the band on twitter @FRDMRDTH

n the 1820's during the Greek War of Independence "Freedom or Death" became the war cry for the people of Greece. Their passion, belief and desires were so strong, that they accepted no substitute. The Toronto based duo adopted that name, as it’s their mantra when it comes to their music. “We want to have the freedom to make the music and the artistic choices that we want. If we can’t have that freedom, we’d rather not put anything out, which is the death of our art” says Fernandez, one half of the production and song writing unit. Freedom Or Death’s sound is based in everything, acoustic folk, electronica, traditional rock, hip-hop rhythms yet always rooted in lyrics with substance. “We didn’t want to get caged into any kind of pigeonhole,” Sway says. “That’s our freedom, to make the music however it comes out. We have two different sensibilities to making music that clash, but it’s how we actually reconcile them that’s interesting.”

With the release of their self titled EP, they’re creating and making music their way. The two of them met while working at a major record label and have a solid understanding of how the music industry works. “We know what sold, we know how to make it, but we decided not to make it. We created an artist record”, Sway says. “We decided we wanted to make music that we would like to listen to, regardless if it gets played on the radio or not.” Within three months of writing they had come up with an album’s worth of material and in true fashion, Freedom Or Death assumed all creative control; every song was written, produced, recorded and performed by the duo. Yet while they have proven they’re self contained there is a strong desire to work with like-minded artists. “We are more interested in working with a collective of artists, rather than being a silo unto ourselves,” Fernandez says. “Our artwork is being done by artists that inspire us, our videos are being shot by directors
that we want to work with.”

Fernandez was classically trained as a pianist and has been a DJ for over a decade, while Sway has been a
driving force as a vocalist and songwriter behind various bands, musically Freedom Or Death’s sound is
eclectic, yet their approach to lyrics is clear. “We posed the question, are we going to write lyrics that resonate
with a mass amount of people or are we going to write music from our heart?” Sway asks. “We decided to write things that had a truth to it. The lyrics are a really huge part, they’re not always the last part, but for me if there’s no lyrics for a song, the song stops.”

With a strong and steady creative process, stopping is the last point on Freedom Or Death’s agenda, they plan on touring, as well as another EP in the near future. As long as the band’s ideals of their art come first and commerce taking a back seat hold true, they will continue to make the music they want to make for as long as they desire. 

Psych

hellcountry