Free RockCurrent Streaming Set April 2013

Off the debut LP titled "Hazel", out June 11th 2013 on Gold Robot Records as a limited edition 12" record.  (Pre)Order here - http://tinyurl.com/c96ewyt

Young Hunting - Baby's First Steps

Broken Social Scene - Deathcock

'Deathcock' is the first song from the rarities disc of "Arts & Crafts: 2003-2013," the 10th anniversary retrospective deluxe album.

The song was recorded during the "You Forgot It In The People" sessions and originally released in 2004 as a limited edition bonus CD given away with online pre-orders of "Beehives." 

'Deathcock' was the first-ever collaboration between Broken Social Scene and longtime producer Dave Newfeld. Of the song, BSS says: 

“Deathcock, originally titled Mourir, was the first recording we did together as a band with David Newfeld. Dave was making a record called Pet Songs and asked if we'd contribute to his project. It was Justin Peroff who initially brought us together as he felt Dave and BSS would be a great collaboration. The song was written and recorded in one day with at least 10 BSS members present and in town for the session. It was after this session we knew we had to work with Dave. The sounds that he got, the vibe he created at this studio, and his understanding of the band all pointed to YES...”

CD/LP pre-order: http://bit.ly/AC313
Digital pre-order: http://itunes.com/AC10

http://facebook.com/brokensocialscene
http://twitter.com/bssmusic

Purchase on iTunes

Broken Social Scene - Deathcock

Written by Vanbot
Produced by Johan Eckeborn
Mixed by Sebastian Forslund 
Cover by Rikkard Häggbom
www.vanbotmusic.com

When My Heart Breaks

Track # 3 off  "Petaltails".

Cover art by Erica Williams.

Mouthfeeder

"'Someone Disappeared' gets right into gear from the off, furthering warm, psychedelic tones with a scrappy aesthetic and plenty of delicious hooks." -- Jamie Milton, <a href="http://www.thisisfakediy.co.uk/articles/news/premiere-listen-the-everywheres-share-someone-disappeared-track/">This Is Fake DIY</a>

The self-titled debut from songwriter Samuel Hill's <a href="http://www.facebook.com/TheEverywheres">The Everywheres</a>, summons scrappy yet masterful psych-pop. Hill started making music as The Everywheres in the summer of 2012. The notorious drifter found himself back in his native Halifax, Nova Scotia, more specifically in the basement of his childhood home. Glowing garlands take shape from a cocktail of Davies odes, Brian Jonestown candidness and nomadic adventures. Swirling guitar wanes smooth to build a delicate, jewel-toned backbone from which peyote induced tambourines and blissed-out harmonies stem.

<a href="http://fatherdaughterrecords.bigcartel.com/product/the-everywheres-lp">BUY THE EVERYWHERES ON VINYL</a>

iTunes

The Everywheres - Someone Disappeared

Artist: Statistics
Album: Peninsula
Release date: June 25, 2013
Label: Afternoon Records

Press contact: michelle (at) teamclermont (dot) com
DPK: http://teamclermont.com/roster/15266/statistics

http://www.facebook.com/statisticsmusic
https://twitter.com/statisticsmusic

About:
Statistics is the solo project of singer-songwriter, Denver Dalley. His latest release, Peninsula, is reminiscent of the electronic infused rock-n-roll that defined his decade-old debut. But Statistics has matured into something vast, detailed, and deliberate, drawing inspiration from all corners of Dalley’s nomadic musical career.

Dalley grew up in Omaha, Nebraska. He began making music in junior high, playing punk-rock loudly in garages with friends. After a series of moves (to Nashville, then to New York), Dalley found himself back in Nebraska to attend college at Creighton University. There, he was reunited with childhood friends, Ian McElroy and Matt Baum, aspiring musicians themselves, and the three soon began plotting their rock band future.

Joined by Dalley’s other childhood friend, Conor Oberst, the group called themselves Desaparecidos. Their first and only album, Read Music/Speak Spanish, was released on Saddle Creek Records in 2002 and was praised for its emotional energy and raw production. With Dalley as principal songwriter, the Desaparecidos sound (at the time noted for its contrast to Oberst’s work with Bright Eyes) drew from Dalley’s love for the experimental spasms of the Pixies’ and the immediacy of Weezer’s Pinkerton, all while honoring the band’s roots in the Midwestern punk scene.

Bright Eyes’ increasing fame slowed Desaparecidos’ momentum, and the friends took time to focus on other projects. Dalley began experimenting with new sounds and instrumentation, especially electronic elements, eventually compiling his ideas into a solo project, dubbed Statistics. Dalley’s musical tinkering defined his self-titled EP, released in 2003. Two more albums followed, 2004’s Leave Your Name and 2005’s Often Lie, but by his third release, Dalley found himself burnt out, uninspired, and tired of a solo career.

Refocusing his energies, Dalley began licensing his music, and eventually composed scores for ads and feature length films. He also began touring with several national acts as part of their backing bands, reveling in the chance to lend creative support without having to call the shots. Dalley’s time as a “hired gun,” playing guitar for poppy Sean Na Na, taking up bass to play with funky Har Mar Superstar and the folky Watson Twins, proved incredibly fruitful, as it forced him to act as a sonic chameleon, adapting to different styles, and learning along the way.

It’s been 8 years since the last Statistics album. Peninsula has been in the works for the past 5. But it doesn’t sound labored or meticulous. The album is instead made up of songs that have stood the test of time, that are at once nostalgic and cutting edge. The experimentalism that made that first EP so exciting is back, now grounded in Dalley’s eclectic experience and a fresh coat of pop polish. The grooving “Take the Lead,” featuring Har Mar Superstar, could easily have been a single off of Justin Timberlake’s Justified, while the smooth and slightly eerie instrumentation of “Nineteen-Ninety-Nine” perfectly encapsulates Y2K paranoia. A mellow cover of Rilo Kiley’s “Picture of Success” rounds out the record, its sparse arrangement showcasing Dalley’s subtle vocal power.
Peninsula feels like a new beginning, but it is in fact the completed whole of a career composed of many movements (both literal and figurative). It will be available for free download from Afternoon Records. It’s something to sample and something to share. Hello, good to see you, we’d like to re-introduce you to your old friend, Statistics.

"Nineteen Ninety Nine"

Media contact: alyssa at teamclermont dot com
Album info, artwork, photos: http://teamclermont.com/roster/15265/tim-adam

Tim & Adam’s eponymous debut album sounds like a dreamy carnival. Underpinned by a vintage Lowrey organ the duo bought at a thrift store, the songs were built around its undulating, festive rhythms, then layered to the exosphere with guitar, piano, and spacious melodies, shimmering and echoing above the clouds. Interlacing guy/girl vocals permeate every song, at times playing cat and mouse, at others merging into a sublime oneness. From a combination of playful and sweet, ominous and mystic, curious and quixotic, emerge as many layers of imagination and feeling as there are of sound created by this uncommon pair.

The couple lives in South Florida, where they met on a hot and humid summer night in 2006. Adam was playing with his band at Alligator Alley, a cozy dive in Fort Lauderdale, and Tim was in the crowd. Tim, it should be noted, is the girl in this story. Mutual friends introduced the two, and now, almost 7 years later, they’re engaged to be married, with their debut album complete, both raring and ready to turn a new leaf. This is the first record Tim & Adam have produced together, but it is truly the fruit of many years of sonic adventures, both collaboratively and individually.

Tim Yehezkely was born in Israel and moved to the US when she was 3 years old. She began studying clarinet in the 4th grade, later moving on to oboe and flute, then guitar and piano as a teen. Eventually she left the school band, preferring to experiment with songwriting and recording. “I was finally breaking free from the confines of formal music training to do things on my own terms,” Tim remembers. In her early 20s, she summoned the courage to perform at an open mic night, where she met members of what would become the critically acclaimed indie pop outfit, The Postmarks, who, incidentally, would also introduce her to her future fiancé.

Adam Rosenberg, a proud Florida native, studied piano at the age of 6, picked up the guitar at 15 and joined his first band in his early 20s. He was the front man of the bands Whirlaway, I Am Stereo, and Hello Human, all of which garnered critical praise. During that time, Adam also gained experience in the studio while recording and producing albums for two of his bands as well as other local artists. After meeting Tim, it wasn’t long before the two began writing songs together. “Both of us are musicians and we are surrounded by instruments. It was bound to happen,” Adam says. Even though Adam kept working the daily grind as Tim continued her studies in pharmacy school, what little spare time remained was devoted to their mutual love of creating music.

Tim & Adam wrote the songs for their debut album over the course of about a month. The evolution of the sound, however, was a more gradual process, as layer upon layer of instruments and vocals were added, fermenting and blending over time, taking on a new life and sound of their own. “Everything developed organically,” Tim says. “It’s not that we went into it with a particular idea in mind. We just wanted the freedom to try new things and have fun. We wanted to do something different than either one of us had done before.”

“It all started with the organ,” Adam adds. “We had no specific sound we were going for. We wanted real acoustic and analog instruments, played by us. This is all real and all performance-based recording, one track at a time.”

When the songs started to take shape, Tim & Adam searched for outside ears to mix and master the album. After hearing some demos, Grammy award-winning engineer Darrell Thorp (Radiohead, Beck, Air) agreed to do the mixing, and Tim & Adam were off to L.A. Then they hooked up with Bob Weston (Mission of Burma, Fiery Furnaces, Sebadoh) to master the record. Now, finally, they are ready to share it with the world. Look out for their debut, Tim & Adam, dropping this May.


Tim & Adam - "So Much More"

Hey, 

We decided to start things up again after about a 2 year long break. We've been collaborating with several different bands and pursuing other projects, but for the hell of it we want to start playing shows again and making new songs. This is a demo Dan wrote. 

Crushed

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Free RockCurrent Streaming Set April 2013

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