New Single “Daytrippin” Out Now! 🏜️
New Album Drops 10.6.23 ✨ https://www.iration.fm/daytrippin

https://odesza.co/tlg-albumSo

Americas Booking: 
jmoss@teamwass.com

Europe / UK Booking:
James.whitting@paradigmagency.com

Rest of World Booking:
jmoss@teamwass.com / James.whitting@paradigmagency.com

Mgmt: 
adam@redlightmanagement.com

Starting from early music inspiration, Art Zimmer (vocals/guitar) and Chris Zimmer (vocals/bass) grew up around live music. Their father A.D. Zimmer is a 30 year master of the bass guitar, playing with bands such as Immaculate Mary and currently playing in the Lou Gramm Band. Whether it’s a live show or a flat bass line from the basement, it was easy to find inspiration from their father. At the age of 16 Chris and Art started a band called 16-Bit, a three piece punk rock band. 16-bit lasted two and a half years and fell apart due to conflicting ideas. 

A year or so went by and the brothers couldn't go without writing and preforming their music.
They got back together with the drummer from 16-Bit and started a band called What It’s Worth. Their drummer dropped out after six months and the search for a new drummer began. Art and Chris soon found Kyle Craw (drums) and started practicing again. They played 30 or so shows and received over 100,000 views on Myspace.com. The band broke up due to challenges in life.

Two years went by and it would seem that their song writing days were over. But, as the saying goes, “once a musician, always a musician”. The creative bug bit Art one day and he started trolling craigslist.org for bands. He contacted Steve Mackin (guitar) and set up a jam session. It was “guitarist at first sight”! At that time, it was just Art and Steve with two guitars and a drummer that was a little off base from what they were looking for. Steve and Art set out to find a drummer that fit the part. While in the search process, Art called his brother Chris. Chris picked up the bass and started writing again. This new band started creating some of the brother’s best music yet.

The band shuffled through a few different drummers before landing with Anthony Raymond (drums). Soon after, the band Mulu Lizi was formed! Mulu Lizi (pronounced Moo-Lou Lizzy) is the name of a star in the constellaion Libra and means “Man of fire”. Although the band was happy with the music they were creating, something was off. After 6 months, life issues came up and they had to part ways with Anthony. It had been about three years since Art last talked with Kyle Craw, but he figured he would give him a call. Kyle showed up to practice and they soon realized they had found the missing piece. In January, 2013 Mulu Lizi became complete!

In 2013, Mulu Lizi began writing what would later become the “Men of Fire” EP. The first track written was “Walking the Line” and it was initially released as a single. The band later released it as their first music video in April, 2014. Their second music video was released in September, 2014 for “Baby Doll”. Both songs were recorded and produced with sound engineer Brian Moore at RedBooth Studios in Rochester, NY. Together, the songs have over 7,000 views on Youtube! Once Mulu Lizi realized the quality of the production, they came back to Brian Moore with the final three songs of the “Men of Fire” EP. The EP was finally completed in April, 2015 after many months of writing, gigging, and recording.

Mulu Lizi has a large social media presence between Facebook, Twitter, Instagram, and Youtube. In early 2014, the band won a local Homegrown Music Showcase and has since been interviewed and featured in numerous publications. You can also hear Mulu Lizi on many radio stations, both domestic and international. Now Mulu Lizi is writing new music and playing out in support of the latest release. Shows are being lined up for cities all over the Northeast and Midwest United States and in lower Canada!

mixing / mastering / tour dates
https://www.vanicmusic.com/

MGMT: 
devdoroff.mgmt@gmail.com

BOOKING N.A.: 
peter@minttalentagency.com

Official SoundCloud profile of M83 aka Anthony Gonzalez

Are you ready for a new adventure? New m83 album 'Fantasy' is out March 17: http://m83.it/fantasySo

Official #SOJA SoundCloud • New album 'Beauty in the Silence' Out Now!! Listen at http://www.sojamusic.com/

Send us your demos for Friends & Family Records! fandfdemos@gmail.com

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.

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