Appendix churning bass , warehouse sound of 1990-1992 , lydons wit and sneer , bomb squad production ,1950s sci fi horror , ultra magnetic mc's, bruce lee,billy childish, qotsa ,the eighties matchbox b-line disaster ,60 hz ,1990 pills ,rick rubin,mr oberheim 2 voice and mr ms20 sub bass breaker, veuve clicquot yellow label lubrication, mr crabs, roger moore , 4 in the morning bullshit.

Manager:
John Fairs
info@jcfmgmt.com

PAINT ME PICASSO are the new Generation Rock! Four young musicians - inspired by the future – but still with due respect of the past. These are four individualists that could not be more different. They come together to fuse the soundtracks of their self-composed lives.

It is more than evident that these four Hamburg-based guys feel comfortable in many different sub-genres of rock. However, listeners will be quick to uncover the influence of RnB-molded singer Can. A rock band that plays pop music and a pop band that plays rock music – or might it just be a genre that everybody has to define personally? No matter one’s decision: everybody can get carried away by driving guitar melodies, powerful rhythms and a distinctive voice.

When compared to the early days of the band’s time, when PAINT ME PICASSO were still sitting in a Miami studio recording their first and self-titled EP (released in 01/2012), their unique style has not really changed but much more evolved. Even though producers Chris Rodriguez (among others Jennifer Lopez, Ricky Martin) and Jeff Glixman (among others Gary Moore, Black Sabbath) have helped enormously at that point, the guys quickly realized that they had to take matters into their own hands and decided the define their own sound. A great decision, as it turns out.

That is how the debut album “BYGONES” (release date: 21 February 2014) was put together by singer Can, guitarist Jules, bassist Robert and drummer Steven since early 2013. So the professionally-trained musicians have gotten together with each other as well as mixing/mastering engineer and friend Ludwig Maier, who also functioned as producer, to provide their self-recorded music with a certain harmony and sharpen the sound. Johannes Rothenaicher was brought in as a helping hand and co-producer and finally completed the team. That way the album was finalized rather quickly.

However, the time has come for PAINT ME PICASSO to return to the stages because, after all, that is where the band feels the most comfortable.

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.

Rihanna is an Academy Award nominated and Grammy winning artist, philanthropist, and businesswoman, recognized as one of the best-selling recording artists of all time. She holds the record for the most Diamond-certified RIAA singles by any female artist. All of her studio albums have achieved Platinum or Multi-Platinum status, including Good Girl Gone Bad, Loud, and Anti, cementing her legacy as a music industry legend. Beyond her musical achievements, Rihanna is celebrated for her humanitarian involvement, entrepreneurship, and fashion industry influence. She established the Clara Lionel Foundation in honor of her grandparents, focusing on investing in community-led solutions across the Caribbean, East Africa, and the US South. She is also one of the most influential moguls in beauty, cosmetics, and fashion, with her trail blazing and culture shifting companies: Fenty Beauty, Fenty Hair and Savage X Fenty.

Final Stair allure an entire generation with their pure and honest sound. The band nurtures a generation craving for true emotions and honest story telling.

Paint Me Picasso is following