Pre-order our new album QUALIFYING MILES & get tour tickets: linktr.ee/wearescientists

American rock band We Are Scientists debuted in the early aughts with the angular post-punk edge of With Love and Squalor, later evolving to incorporate polished synths and expanded atmospherics on efforts like Helter Seltzer and Megaplex. Although modestly popular in America, the band was a hit in the U.K., where its sound -- part post-punk revival and part indie rock with a touch of '80s synth pop -- drew parallels to contemporaries like Editors, Franz Ferdinand, Interpol, and the Killers.

Formed on the West Coast by three California-based college students, We Are Scientists officially took flight after frontman Keith Murray, bass player Chris Cain, and drummer Michael Tapper (who replaced founding drummer/vocalist Scott Lamb) relocated to Brooklyn and began building a small but devoted following. After releasing three EPs and one independent album -- Safety, Fun, and Learning (In That Order) -- the group signed with Virgin Records and released its major-label debut, With Love and Squalor, in early 2006. The effort peaked at ten on the Billboard Heatseekers chart and eventually was certified gold in the U.K.

In 2008, We Are Scientists -- reduced to a duo comprising Cain and Murray after Tapper parted ways with the group -- put out its second full-length album, Brain Thrust Mastery. Produced by Ariel Rechtshaid, the set included the singles "After Hours" and "Chick Lit." As before, the record found popularity in the U.K., where it debuted at number 11 on the albums chart. The band toured heavily in support, playing a number of European festivals and opening shows in America for Kings of Leon. As We Are Scientists prepared to record a third album, former Razorlight drummer Andy Burrows joined the lineup, and the revised band unveiled itself with the release of 2010's Barbara. That year, founding members Cain and Murray also appeared in their own series of comedy shorts, Steve Wants His Money, which aired on the Internet and ran in segments on MTV.

In late 2012, the band entered the studio in New York with producer Chris Coady (Beach House, Gang Gang Dance, Blonde Redhead) to record sessions for its fourth record. Burrows relocated to the city from England while he worked with Murray and Cain to write and record tracks for the album. Titled TV en Français, it arrived in early 2014 on 100%/Dine Alone Records and featured appearances by Rose Elinor Dougall (Mark Ronson) and Tim Wheeler (Ash).

In 2016, We Are Scientists returned with their fifth studio album, Helter Seltzer, produced by Max Hart (of Katy Perry's band). The effort charted in the Top 50 of the U.K. and Scottish charts. They returned in 2018 with their sixth effort, the polished Megaplex, also produced by Hart. Megaplex featured the singles "Heart Is a Weapon," "Not Another Word," and "Your Light Has Changed." ~ James Christopher Monger & Andrew Leahey

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E se as histórias secretas de pessoas aleatórias fossem reveladas?

"Crônicas do Fim do Mundo" é um projeto que constrói narrativas curtas com um toque de suspense noir.

Escrito e produzido por Caio Salgado. Leia essas e outras crônicas no Medium, acessando o link: https://goo.gl/tIGy6p

Comentários, críticas e sugestões: caio@chsalgadofoto.com.br ou pelo Twitter: @chsalgado.

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Jeff Kwok
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Fiercely independent road warriors Wild Child, an “indie powerhouse,” has spent the past year stepping into that spotlight, playing stages as major as Austin City Limits Music Festival, Wakarusa, Firefly Music Festival, Bonnaroo, Osheaga, and Savannah Stopover.

Behind their second album, The Runaround, the premiere release on Ben Kweller’s Noise Company label, the Austin six piece earned NPR’s Top Ten Songs of 2013 honors for the song “Living Tree,” and saw five additional songs hit number 1 on Hype Machine’s Popular chart.  Their Spotify, Soundcloud, and YouTube streams have eclipsed ten million listens, and they’ve appeared on NPR’s World Cafe and an airing of eTown Radio. The lead single from The Runaround, “Crazy Bird,” debuted on Specialty Radio at number one fueled by an electrifying performance on The Late Late Show With Craig Ferguson. 

              Together since 2010, the band has been hailed as one of the top acts in music-rich Austin since the release of debut album Pillow Talk; their mix of folk, pop, and gypsy melodies make them sound like little else. Kelsey Wilson has “the voice of a Jazz Age Broadway baby,” writes NPR, “all coos and hiccups and shivers.” Among unanimously illustrious praise from the likes of Paste Magazine, Relix Magazine, The Chicago Tribune, Indie Shuffle, The Austin Chronicle, and American Songwriter, the Austin American­Statesman has anointed Wild Child as “Austin’s next national breakout act.”  Countless sold-out shows across the US suggest that that foretold future may in fact already be upon us.

              Incorporating violin, ukulele, cello, piano, bass, banjo, and horns in ways that few bands could conceive of today, Wild Child has broken through as one of the preeminent bands in one of the most storied music cities in the world, winning back-to-back honors as the city’s Best Indie Band at the Austin Music Awards.

“Music defines us,” says Wild Child’s co-frontman Alexander Beggins. “We get up every day to stomp, clap, whoop, holler, and dance with our family on stage and our friends in the crowd. We’re always looking for ways to expand our sound and push our boundaries musically, and we’re always looking for the next thing, the next sound, the next song. But in the meantime, it just blows our mind to stand on stage and look out into the crowd and see people singing along.”


ᴅᴊ ғʀᴏᴍ ʙᴀᴜʀᴜ, sᴀ̃ᴏ ᴘᴀᴜʟᴏ, ʙʀᴀᴢɪʟ ᴛᴏ ᴛʜᴇ ᴡᴏʀʟᴅ <3

L ....- ..--- is following