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LYRICS:
Another amazing day to open shop
I heard the Dow Jones ended double positive
Today they’re back for more
Me and my shares are on a bubble up and we’re never coming down
An unbelievably booming economy, now!

Come everyone gather round
The end of the world is any time now

Let us all join hands and say a prayer
Heavenly Father, can you do that thing you do and lower interest rates?

Some of the most impressive real estate is being developed near my house
An inconceivably lucrative fortuity, wow!

Come everyone gather round
The end of the world is any time now
So hold up both your hands
It’s raining money
Grab everything your back will let you carry

RECORDING CREDITS:
Daniël de Jong: lead vocals, guitars
Daniël Schoemaker: guitars, backing vocals
Kike Zwagerman: bass, backing vocals 
Ivar Otten: keys
Gino Buragevic: drums, percussion 
Adura Sulaiman: backing vocals
Daniël Smienk: percussion

Produced by Feng Suave. Engineered by Jasper Geluk. Mixed by Feng Suave and Jasper Geluk. Mastered by Wessel Oltheten.

Artwork by Armando de Cosmos

Come Gather 'Round

listen!

Eyelid Movies (Expanded Edition)

Running From The Cops (Instrumental)

Mouthful of Diamonds (Instrumental)

Silver Couplets

ister Sparrow & The Dirty Birds 

Arleigh Kincheloe - lead vocals 
Jackson Kincheloe - harmonicas, cuckoo-organ 
Phil Rodriguez - trumpet 
Brian D. Graham - bari & tenor saxophones 
Sasha Brown - guitars and backup vocals 
Josh Myers - bass, piano on Sugar, and backup vocals 
Dan Boyden - drums and percussion 

with Ryan Snow - trombone 


releases 19 May 2015 

Produced and Mixed by Ryan Hadlock 
Recorded by Ryan Hadlock and Jerry Streeter at Bear Creek Studio 
Mastered by Greg Calbi at Sterling Sound

www.sistersparrow.com

©2015 Party Fowl Records


Sugar

LOK! - YOU ARE SOMEONE (Prod. LOK!)

Risked All Instrumental V2

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Owen Rabbit - Denny's

Follin is the musical project of brother-sister duo Madeline and Richie James Follin. In the down time between record cycles of their respective bands, (Madeline of Cults and Richie of Guards/Willowz) they decided to finally record and release something together. It was an idea that they had hoped to turn into a reality for years, but time never permitted. Finally, in the summer of 2015, their schedules aligned and they were able to make it happen. Although they’ve been making music together since they were children, these songs mark their first collaborative release.

Growing up the children of musicians, the two were raised on early 80’s So-Cal punk. Richie being the elder sibling carefully curated Madeline’s music collection to align with what he was listening to at the time. The siblings have always had a deep connection to music and still share that bond today.

With this project, Madeline and Richie wanted to do something different than they had ever done before. Inspired by distorted synthesizers, drum machines, samples, harmonizers, tape effects and atmospheric sounds, they experimented with new instruments and different vocal styles. Having come to music through the same bloodline, they share a musical voice that made their writing process second nature and continues to shape the way in which they write and record. The songs were recorded at Stockholm Syndrome Sound studios in Bushwick and in their mother’s living room in NYC.

“Roxy” is available now from Father/Daughter Records.

https://www.facebook.com/follinofficial
http://www.twitter.com/follinofficial
http://www.fatherdaughterrecords.com

Follin - Roxy

Nova

Taken from the album 'BOY', released 8 May on Counter Records: http://rac.lnk.to/BOYSo

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Oakland (feat. Winnetka Bowling League)

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.

Mouthful of Diamonds (Instrumental)

PHANTOGRAM

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