Elbows AKA The San Francisco Bae AKA Larry David Bowie 

'Tales From The Old Mill' OUT NOW! https://elbows.bandcamp.com/album/tales-from-the-old-mill

Booking & Inquiries: HeyElbows@gmail.com

Morgan Jesse Lappin b. 1979 is a visual artist, entertainer, musician and image-maker Lappin first started creating collage art in 2007 for a clothing company creating original designs. In 2008, Lappin moved to Brooklyn and began working with paper to create contemporary collages. His art, like his mind, is a combination of comedy and chaos with elements of music, vintage horror and sci-fi. Lappin’s work ranges from seven-foot- long cartoon metropolises, to fictional album covers, to take-out Greek diner coffee cups embedded with tiny paper worlds. 

He uses nostalgic material from his childhood from the 80s, such as VHS Tape boxes, video game cartridges, and any other 80's house hold items that could cause you to experience flashbacks. Having a background in collecting and curating, he set out to assemble some of his favorite collage artists from NYC, and so in 2013 the Brooklyn Collage Collective was born. The BCC has now exhibited all over the world and has a strong global presence amongst collage makers and collectors alike. 

In 2017, Lappin collaborated with The Very Warm, a parent company of Weatherproof, using Lappin’s original collages to design outerwear for men and women which sold-out with Nordstrom’s. In 2018, Lappin was chosen as a guest speaker at Kolaj Fest, a multi-day festival &amp; symposium about contemporary collage and its role in art, culture, and society.

 

E-Mail: Morganlappin@gmail.com

Instagram: @morgan_jesse_lappin / @over_night_sensation / @nyc.sticker.book

RidingEasy Records is a Rock n Roll record label that focuses on heavy psych, doom, metal, and rock.  Check out our website for the real deal goods and other titles we carry.

DJ. Producer. Beat Digger. Kung Fu Movie Aficionado.  Worked with everyone from the Beastie Boys and Biz Markie to Mark Ronson and Ol' Dirty Bastard. Played the haughtiest of soirées to the dankest of dives everywhere from NY to LA, London to Dublin, Moscow to Paris, Tokyo to Sydney and back again. Repertoire: Soul, Jazz, Funk, Disco, Hip Hop, Brazilian, Dub, Dancehall, Soundtracks and other cool stuff.

Music curation that puts artistry before algorithms.

DJ Bookings - ali@warmagency.com
Partnership enquiries - becca@terryterry.com
General enquiries - josh@somewheresoul.com

Alanna Royale makes classic-minded R&B and soul music for the modern age. It's a sound rooted in big melodies, blasts of brass, percussive punch, and old-school grooves, with songs that shine a light not only on frontwoman Alanna Quinn-Broadus' larger-than-life voice, but her songwriting chops, too.

 

The band formed in Nashville, where Alanna and guitarist Jared Colby relocated after cutting their teeth as working-class musicians in Boston. Once in Tennessee, they teamed up with drummer Matt Snow, and bassist Gabriel Golden, forming a core lineup that often swells to as many as ten members -- including backup vocalists and a two-piece horn section -- in concert. Together, the band looked beyond Nashville's country-filled past and, instead, took inspiration from Motown's soul, Stax's funky strut, and rock & roll's rebellion. Tattooed, brash, and unapologetically unique, they stood out in a town dominated by Americana music, charting a unique course whose highlights have since included an appearance at Bonnaroo, a string of cross-country shows supporting acts like Lee Fields and St. Paul and the Broken Bones, and an audience that celebrates the band's diversity.

 

On their fourth release, 2018's So Bad You Can Taste It, Alanna matches the brassy spirit of the band's previous records — including their full-length debut, Achilles — with rare vulnerability. There's still plenty of soulful stomp here, from the upbeat sweep of the record's lead single, "I Know," to the funky fire of "Giving It All Away." There's also a more mature, sober look at the demands thrust upon independent artists — or anyone's who's willing to chase down an uncertain horizon, no matter how rough the journey may be. With songs that examine the midpoint between desperation and drive, So Bad You Can Taste It is the band's most genuine work to date.

 

"There are mountains and valleys to any journey, and this record is about being in the valley," explains Alanna Quinn-Broadus. "It's about the low moments. It's basically the opposite of someone's Instagram feed, because it's not a highlights reel. It's just real."

 

Low moments notwithstanding, So Bad You Can Taste It marks a creative high for Alanna Royale, whose members recorded the record's six songs with producer Kelly Finnegan and engineer Mindy Watts across multiple studios. Joining them were guests like trombonist Nadav Nirenberg -- known for his work alongside artists like Wyclef Jean, Breakdown Brass, and Wu Tang -- as well as Kirk Donovan, Meggan Utech, and Alexis Saski. Working with this expanded crew, Alanna Royale carved out a song-based sound that targeted not only their audience's dancing shoes, but their heads and hearts, too. Songs like the powerful, poignant ballad "I Used to Dream" were reworked multiple times, resulting in a record that's nuanced, heartfelt, and unafraid to show off its own scars.

 

"The title, So Bad You Can Taste It, says it all," Alanna explains. "This record is all about the idea of something that's in front of you, and you can see it and feel it, but it's just out of reach. That thing can be your sanity or your sobriety or your success. I sometimes think it's harder to see the light at the end of the tunnel, rather than not seeing any light at all. Once you know the possibility of light is there, you have no option but to go after it. That can be really hard and really dangerous…which makes it really worthwhile to sing about."

Kendra Morris recalls singers who straddled soul and rock during the early '70s, such as Ruth Copeland and Chaka Khan, while her contemporaries include the likes of Mayer Hawthorne, Alice Russell, and Leela James. Morris's musical taste was developed through her parents' record collection, a library heavy on late-60s and early-70s soul and funk. During her childhood Morris's main companion was her karaoke machine, which she also used for the sake of recording. While enrolled in college in Tampa, FL, she became so involved in performing with bands that she decided to leave behind her studies and take on music full time. She took up the guitar, as well as songwriting, and eventually involved herself with a band, Pinktricity, which moved to New York in 2003 and split shortly thereafter. Morris took to recording songs on her own, and self-released a pair of EPs: This Won't Hurt a Bit (2007) and Milk and Cookies Never Lie (2008). Her first proper recording, a self-titled EP (2010), was recorded with producer and multi-instrumentalist Jeremy Page (of That Handsome Devil). After touring with legendary guitarist Dennis Coffey and releasing a series of singles which included "Concrete Waves," whose b-side was remixed by DJ Premier, Morris released the album Banshee (2012) on Wax Poetics. In 2013, Morris returned with the covers album Mockingbird.

Both Banshee and Mockingbird received critical acclaim and a cult following, with several film + tv placements. The title track "Banshee" was used prominently in the Showtime hit series Ray Donovan, while her cover of Pink Floyd's "Shine On You Crazy Diamond" found itself in the trailer for major motion picture Dead Man Down. 

In between extensive international touring and promotion for Banshee throughout 2013 and 2014, Morris worked on a small side project band with friends Scarlett Johansson, Julia Haltigan and Holly Miranda, releasing one single called "Candy."  After taking some time to write and record her follow up EP titled Babble, Kendra Morris returned with its release June of 2016 to great reviews. 2017 she has been releasing brand new tracks on a consistent basis and playing often. Keep your eyes peeled for new exciting things!

Kendra Morris is following