2020/09 #1 IndieRock DJ Playlist

https://fortherabbits.net/2020/09/04/five-things-we-liked-this-week-04-09-20/

Five Things We Liked This Week - 04/09/20

What's up guys!! This is our brand new September 2020 playlist!! Hope You All Enjoy It!!

1st Song Music - September 2020

MAVOY MUSIC FRIDAY - 11 SEPTEMBER 2020

Hey Eveyone!! This is our new Indie/Alternative Compilation. Support Diego 1st Song Music and subscribe our channel here on Soundcloud, on Instagram, Facebook, Spotify & YouTube. All links on Bio. 

Thank You so much for support our channel and Independent artists. Hope You All Enjoy It!!

1st Song Music - Indie/Alternative & Rock October 2020

September 2020: An Alternative Music Playlist

Covers, Demos, Live Versions, B-Sides

Delilah

Vicious Pastimes, the debut full length LP from House of Harm, will be available September 4th on vinyl and digital via Avant! Records.

Pre-Save now: ontrck.fanlink.to/viciouspastimes

Vicious Pastimes

Always

Scorpion is Western Media's first single check it out!

Scorpion

released August 28, 2020
Katie Solomon - vocals/lyrics
Bredon Jones - guitar/vocals
Zach Wulderk - bass

Produced by Collin Pastore
Engineered by Scottie Prudhoe and Collin Pastore
Mixed by Collin Pastore
Mastered by Preston Cochran
Drums by Jake Finch
Keys by Jake Finch
Additional Programming by Scottie Prudhoe

Everyday Affair

The Octagonal Stairway

Cameraman

Music for Leisure

Descending

For Those About to Pop

Let's Go Crazy

Down the Hill

SPICE

REWARD TRIP

ORDER 7": bit.ly/3fYL40R
BANDCAMP: https://neuroticfictionpopband.bandcamp.com
SPOTIFY: spoti.fi/2CGHmuk
APPLE MUSIC: apple.co/2ZVbBGV

NEUROTIC FICTION - Happy Goth

Cavetown - I Miss My Mum (slowed)

Lunchbox's Tim Brown and Donna McKean have been making records in their Oakland, California basement for two decades, inspired by 1960s/70s AM-radio pop and TV show theme music, punk, C86, and mod à la the Creation and the Jam. From the sonically-inventive indiepop of "The Magic of Sound" (1999) to the dub-influenced psychedelia of "Evolver" (2001) to the critically-acclaimed bubblegum of "Lunchbox Loves You" (2013), the couple have established a sound all their own.

Their new album for Slumberland, "After School Special," finds them at the height of their powers of songcraft and performance. Donna's bass playing stakes out stylistic territory somewhere between Carol Kaye and John Entwhistle while Tim's guitar is equal parts 12-string jangle and clipped Orange Juice-esque funk. Horns by Gary Olson (Ladybug Transistor) and longtime collaborator Jeremy Goody drive the record from beginning to end. Evelyn Davis' delay-drenched keyboards combine with whispers of analog tape feedback to give the record an otherworldly vibe in keeping with its lyrical themes.

There, favorite seasons (autumn) and animals (cats), appear alongside love and death, ghosts and reincarnation. From the shimmering opener "Dream Parade" to the horn-driven mod-pop of "Hide and Seek," the groovy sixties R&B vibe of "I Really Wanna Know" and the haunting male-female vocal stylings of the  album-closing title track, the textures shift while the unity of artistic vision remains. Catchy as hell and beautifully packaged, "After School Special" is Lunchbox at their very best.

After School Special

Lunchbox - Dream Parade

Hardboiled

Dori Deer (feat. Lindsey Mills)

Distance

COLOR PALETTE - DISTANCE

Robin Kester - Sweat And Fright

https://twitter.com/soootsprite
https://instagram.com/soootsprite
https://sootsprite.bandcamp.com/
https://open.spotify.com/track/2j06XjKN9KRLaaOm4EbSDc?si=NcceclSHRQmd3O9qmCFfZQ

LYRICS

Pastel shades in the early heat of May
But all I see is grey
Monochrome scenes feels like it’s all through a screen
But who am I to say what’s real

Is something wrong with me?
Rings like a silent scream 
My sadness is compiling
It’s summer and I don’t feel like smiling

The long days shouldn’t feel this bleak
But it feels like I’m on a losing streak
The smell of suncream and salty air
I feel nothing and I don’t care

Is something wrong with me?
Rings like a silent scream
My sadness is compiling 
It’s summer and I don’t feel like smiling

Air con and blackout blinds
I never mean to be unkind 
Air con and blackout blinds
I never mean to be unkind 
Air con and blackout blinds
I never mean to be unkind 

The long days shouldn’t feel this bleak
But it feels like I’m on a losing streak

SOOT SPRITE - It's Summer and I Don't Feel Like Smiling

Opportunity Went

They Say

Instruments played, sung, recorded & mixed by Jeff T. Smith at the Bungalow
More vocals by Alice Rowan

Cover art by Megan Miller at Clementine Studio
Mastered by Stu MacKillop at Rain City

Dedicated to Jeff Bezos, who through his own questionable behaviour has managed to increase his personal wealth by 76 billion US dollars in the first 5 months of the COVID-19 pandemic.

Released as part of Kingfisher Bluez 2020 Record Store Day compilation, Short Songs, Vol. 2.

http://livingbodylife.com
http://twitter.com/livingbodylife
http://facebook.com/livingbodylife
http://instagram.com/livingbodylife
http://livingbody.bigcartel.com
http://livingbodylife.bandcamp.com

I Do

By Sam Rakestraw: 
Imagine that you had access to a time machine. You could go anywhere, any place, at any point in time, and do whatever you please. I’m fairly confident there’s one place where most wouldn’t go: 2020. Maybe you’d want to fast forward to whenever this horrible time of Covid uncertainty and loss comes to an end and return to a life free from restrictions. Or, you could go back to the world before the viral trauma when your favorite local restaurant, amusement parks, or theaters weren’t closed. It’s hypothetical, but it’s fun to create that escape. One of Nashville’s newest indie rock bands, Nite Tides, makes that escape to the west coast of the Sunshine State with a 60s pop take in their debut track, “Forever Baby.”

Born and raised in San Diego, Ryan Poole made the musical pilgrimage to Nashville to work in recording. After the move, he spent the next seven years behind the soundboards in the studio mixing, editing, and largely working on other people’s music. Poole, however, found himself idling in the studio one Sunday this summer. 

“It was the Sunday afternoon after the Fourth,” Poole recounted. “I didn’t have anything to do. And I was telling myself, ‘Dude, don’t go into the studio; take a break from work.’ But I just got this bug in my head. I wanted to do a song that was kind of surfy for a long time,” he remembers.  

The retro sounding song about escaping to the Golden State beaches for surfing, away from a sickly world, influenced the project name, “Nite Tides,” as Poole brought some of his buddies on. What was intended to be a day of messing around in the studio developed into a 100-hour project.

“Forever Baby” begins with an overture of guitar. They sound violent at first, as the strings are aggressively tugged at. It’s almost like the section of The Beatles’ A Day in the Life, where the instruments sound as if they’re winding up for an ear-splitting roar. But that roar never comes. Out of the blue comes a tropical guitar and ukulele melody. Whatever image of a growing storm the listener had in their mind is now replaced by a Californian seaside with towering foaming white waves beckoning to them. Poole sings the verses of escaping the current time in a wavy trance-like tone similar to Day Wave. In fact, Poole cites the 2015 indie rock project as one of his influences towards creating this track. 

“The Enneagram test is a personality test like Myers Briggs or anything else,” says Poole, “My particular Enneagram is what they call a seven. Basically, the main thing regarding the seven is having fun, always busying yourself with activities, and trying to avoid pain by having fun and never stopping. This song hits that seven quality in a bunch of ways. Even after its creation, I couldn’t just take a Sunday off and be lazy. I had to do something fun and creative.”

Many of the song’s lyrics were an escape for Poole to write and sing. The rest of the song structures piano and guitar chords to versus that sing, “If I’m not sick and you’re not sick then we’ll head out west where the sunset lives and we’ll ride a wave forever baby.”Those lyrics were what  brought Poole into the studio. From there, he wrote more verses that built on the theme of escaping in the true nature of an Enneagram seven.

“Forever Baby” is Ryan Poole’s time machine to the coast, set in the 60s and a love letter to surfing. It’s an accurate estimate to say that Poole would take his time machine to the San Diego beach circa 1968. “With the idea of Nite Tides, that’s how I’m branding the whole thing. Creating this aesthetic of 60s beach surfers and classic cars (he drives a 64’ Thunderbird). It’s just very much a Beach Boys-like band, and we’re having fun with it. That’s not everything about me; it’s not my whole personality or my whole taste in music, but it is one big part. So, Nite Tides is this compartmentalized part of me—my retro beach side.” #surf #surfrock #janglepop #indiepop#bedroompop#lofi

Forever Baby

In Search Of Lost Time

Switch It Up (feat. Koffee)

Sentimiento Mundial

Aterrizar

Mint Field - Aterrizar

Running in Circles

Eartheater - Phoenix: Flames Are Dew Upon My Skin
Format: LP / DL
Cat.No. PAN 112
Release Date: 2 October 2020
Purchase/stream: pan.lnk.to/Phoenix

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live. Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire.

Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

Read full press release: bit.ly/2XtJGvQ

Phoenix: Flames Are Dew Upon My Skin

Eartheater - Volcano (PAN 112)

Curbside is Bathe Alone's heaviest offering from her upcoming debut LP Last Looks. The song is a duet in many ways between DI and analog. There's clean crisp digital drums delicately intertwined with dirty, grungy, almost trash-can sounding acoustic drums. Then there's Bathe Alone's signature clean reverbed-out DI guitar playing alongside a nasty, fuzzy amped guitar with tons of room mic to get that grit. The vocals were inspired by Billie Eilish, where her instrumentation can get intense yet her vocals remain eerily relaxed while layered with tons of harmonies.

Last Looks

Curbside

Did I take too long
To tell the truth
Sleep alone
Say goodbye
Lonely hour tonight

How do you find
Living in all the time
Never say what’s on your mind
You know I hate you
And I had to go

Did I find the words
To say to you
And I 
Run away
Sit alone
Right where I belong

On the wrong track
Right onto the street
I lost your trust
And I lost a key

Can’t you ever see what’s not right in front of you

Sleep away the days
The days
The days
Today’s the day
Today’s the day

written and recorded by Hafiz Nazhri

Sleep Away the Days

A record label in Bristol, UK, putting out punk / indie rock records we like.

SOOT SPRITE - It's Summer and I Don't Feel Like Smiling

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