UMS 2015

pop-rock & cola

Release Date: September 9
Bill (at) teamclermont (dot) com

Label: Latenight Weeknight Records
------

The Silent Sunrise is the fourth full-length album from US based progressive shoegazers A Shoreline Dream and their first release in three years. The recording process was set in an early 20th century barn located in the historic Barnum neighborhood – namesake of circus pioneer P.T. Barnum. This strange collection of buildings and houses provided a unique backdrop to a deep and powerful look into the cosmos of star swept swirling guitars, groove oriented bass lines and emanating vocals. The listener is invited to immerse
themselves into the sonic nuances captured in the studio’s recording rooms including castle inspired plaster walls, visions of eye floaters in layered paints and staircases of searing flames. The entire space is littered with restored pinball machines, haunted house effects and carny style oddities. Listen closely and you can hear the character of the space, ambient noises from the studio’s specters and a visit from an often-irate neighbor. The Silent Sunrise is a brand new step in the world of Shoegaze, and an important release from a band many have loved since their collaborations with Ulrich Schnauss.

A band that has appeared alongside many greats in the world of indie music, A Shoreline Dream has been best descibed as a “melodipsych / progressive shoegaze” band combining lush sampled textures, organic instrumentation, and vocals layered like a synth similar in vein to bands such as Ride, Slowdive and Sigur Rós. Originating in Barnum, Colorado they are steadily reaching out to an international fan base, working with infamous producers such as Ulrich Schnauss and Kramer (Ween / Low / Galaxie 500). When they formed in 2005 they all decided to take a stand against the restrictions of a normal label and formed their own (latenight weeknight records).

In the Fall of 2006, A Shoreline Dream released their debut album Avoiding the Consequences with a full scale attack using Ryan’s house as collateral, garnering the band attention on several samplers for Landmark Theatres, Urban Outfitters, The Sundance Film Festival, Paste Magazine among others. Critics from Filter Magazine, Paste Magazine, XLR8R, Skyscraper, and Westword helped fuel the fire.

After that debut came many exceptional releases from the band along with countless tours and collaborations. From appearances at SXSW, to festivals such as Monolith and Midpoint, ASD has been doing all they can to get their music to the fans.

A Shoreline Dream ' "The Heart Never Recovered"

Engineered, mixed and mastered by Chad Saxton.
Recorded at Dryer Plug Studios 2013
Kyle McQueen: Keys, Guitar & Bass
Julio Alejandro: Vocals
Greg Wilson: Drums

Deep Dream

Mirror

Cradle Clouds

4 - BLACK SAND

From the album "(I've Got) Trouble In Mind: Singles & Rare Stuff 2009/2014" - out September 30th, 2014 on Trouble In Mind Records (www.troubleinmindrecs.com)

The Limiñanas - An Ugly Death

Lampshade

Engineered, Mixed and Mastered by Kris Smith

Tomato

Innerspace

Engineered, Produced and Mixed by: Carmine Gabbianelli
Produced by: Gregg Ziemba 

Kyle McQueen: Bass, Guitar
Julio Alejandro: Vocals, Guitar'
Gregory Wilson: Drums
Kyle Gray: Moog

Night Time Hand Washing

Denver, CO  
Booking: parislightsdnver@gmail.com

Spacesuits for Indians is a 4 piece Indie Rock group from Denver, CO that released their first EP on Wiener Records in November 2014 and released their second album in just under a year, September 2015. 

"Prior to forming this project with bassist Geoff Stolte, singer/guitarist Julio Alejandro, multi-instrumentalist Kyle McQueen and drummer Greg Wilson had been members of Postal Holiday, an experimental-pop band with roots in melodic space rock and the haunting post-punk of early Interpol. Spacesuits for Indians doesn’t represent a drastic change in sound or dynamics; still in place are Alejandro’s daydream-tinged vocals and McQueen’s gift for switching effortlessly from elegant and sparkly to urgent and fuzzy and back. The main change this time around seems to be in Wilson’s welcome new ability to control the texture and tone of the songs." 
-Tom Murphy