Bad Cop, from Nashville, Tennessee, is at the center of all things that make all great rock bands the way they are: tight musicianship and songwriting.  The songs on Bad Cop’s forthcoming Album play as instantly memorable, catchy pop melodies – because, after all, they are, whether creaking across the wooden barroom floor or barreling full-speed towards the reckless abandon of hardcore punk. But moreover, there is a spirit, wild-eyed and desperate, pulling you in and shaking you up. 


Lightning 100 is Nashville's only independent radio station.  
We play new music from national and local artists mixed with some of your classic favorites.

Tune in to WRLT 100.1 FM and listen to our live shows, artist interviews, and your favorite local artists. 

Alanna Royale makes classic-minded R&B and soul music for the modern age. It's a sound rooted in big melodies, blasts of brass, percussive punch, and old-school grooves, with songs that shine a light not only on frontwoman Alanna Quinn-Broadus' larger-than-life voice, but her songwriting chops, too.

 

The band formed in Nashville, where Alanna and guitarist Jared Colby relocated after cutting their teeth as working-class musicians in Boston. Once in Tennessee, they teamed up with drummer Matt Snow, and bassist Gabriel Golden, forming a core lineup that often swells to as many as ten members -- including backup vocalists and a two-piece horn section -- in concert. Together, the band looked beyond Nashville's country-filled past and, instead, took inspiration from Motown's soul, Stax's funky strut, and rock & roll's rebellion. Tattooed, brash, and unapologetically unique, they stood out in a town dominated by Americana music, charting a unique course whose highlights have since included an appearance at Bonnaroo, a string of cross-country shows supporting acts like Lee Fields and St. Paul and the Broken Bones, and an audience that celebrates the band's diversity.

 

On their fourth release, 2018's So Bad You Can Taste It, Alanna matches the brassy spirit of the band's previous records — including their full-length debut, Achilles — with rare vulnerability. There's still plenty of soulful stomp here, from the upbeat sweep of the record's lead single, "I Know," to the funky fire of "Giving It All Away." There's also a more mature, sober look at the demands thrust upon independent artists — or anyone's who's willing to chase down an uncertain horizon, no matter how rough the journey may be. With songs that examine the midpoint between desperation and drive, So Bad You Can Taste It is the band's most genuine work to date.

 

"There are mountains and valleys to any journey, and this record is about being in the valley," explains Alanna Quinn-Broadus. "It's about the low moments. It's basically the opposite of someone's Instagram feed, because it's not a highlights reel. It's just real."

 

Low moments notwithstanding, So Bad You Can Taste It marks a creative high for Alanna Royale, whose members recorded the record's six songs with producer Kelly Finnegan and engineer Mindy Watts across multiple studios. Joining them were guests like trombonist Nadav Nirenberg -- known for his work alongside artists like Wyclef Jean, Breakdown Brass, and Wu Tang -- as well as Kirk Donovan, Meggan Utech, and Alexis Saski. Working with this expanded crew, Alanna Royale carved out a song-based sound that targeted not only their audience's dancing shoes, but their heads and hearts, too. Songs like the powerful, poignant ballad "I Used to Dream" were reworked multiple times, resulting in a record that's nuanced, heartfelt, and unafraid to show off its own scars.

 

"The title, So Bad You Can Taste It, says it all," Alanna explains. "This record is all about the idea of something that's in front of you, and you can see it and feel it, but it's just out of reach. That thing can be your sanity or your sobriety or your success. I sometimes think it's harder to see the light at the end of the tunnel, rather than not seeing any light at all. Once you know the possibility of light is there, you have no option but to go after it. That can be really hard and really dangerous…which makes it really worthwhile to sing about."

Official Soundcloud for the world of Red Bull. Hear beyond the ordinary.

Colorfeels is an indie-pop quintet from Nashville, Tennessee, USA. 

"Syzygy" is intended to be heard from start to finish.
The track listing is as follows:

1. Mirrored Walls
2. Pretty Walk
3. Keeping Me Alive
4. Unplanned Holiday
5. You Know
6. Genealogy
7. Zenzizenzizenzic
8. Be There
9. Insufferably
10. Fun Machine
11. Glimmer
12. Your High Fidelity Train Ride (Bonus Track)



It's All Local is a social media blog dedicated to promoting both up & coming artists, as well as good music that has flown under the radar. The motto if It's All Local is  "Music is Meant to be Shared". Whoever decided that you must keep good music to yourself so no one else will hear it so you can than be hipster, was an idiot. 

Follow our instablog via instagram @itsalllocalmusic.

Twitter @itsalllocal

Send us your music or recommendations through our website itsalllocal.wix.com/music

Loud guitars, cold beers, sweaty clothes.  

After relocating to Nashville from Chicago in 2009, singer/keyboardist Megan Rox and guitarist Dave Johnson solidified the current band lineup in 2011. They released a self-titled EP in August of 2012, and began working on their debut full-length album Star in 2013 with Jeremy Ferguson at Battle Tapes (Turbo Fruits, Pujol, Tristen, Forget Cassettes) and Brian Carter at Paradox Productions (Glossary, The Nobility, The Features). It was mixed by Matt Mahaffey (Self, Beck, The Sounds, Pink). The band released the Deluxe Edition of Star, with select remixes, in 2014.

Family life slowed the process of writing new material through 2015 and most of 2016, but the band brought in bassist/synth guru Aaron Irons (The Non-Commissioned Officers, Jasmin Kaset) and went back into the studio with Jeremy Ferguson (Battle Tapes) to record and mix their new EP, Afterglow, in mid-2016. It was released on May 12, 2017

"Nashville indie rockers Scale Model are back boasting an expanded lineup...that needs to be on your new music radar now...and the expanded sound is immediately noticable in the lush, dance-ready soundscapes that propel “Other Voices” through visions of Depeche Mode, while vocalist Megan Rox soars above as though channeling Annie Lennox."
-No Country For New Nashville, 2017

"Their territory has typically been the New Wave-ier side of synth pop, and their new four-track EP Afterglow expands on that nicely. Contributions from new member Aaron Irons and his fortress of synths lock in with Steve Cross behind the kit and drum machine to create a perfect setting for launching vocalist Megan Rox into space. Guitars also play a bigger role here than on the group’s 2014 record Star, sounding like they might take flight any second. Most importantly, the songs offer satisfyingly weird takes that make normal stuff like rain, social media and pollution sound like they belong in a sci-fi novel."
-Stephen Trageser, Nashville Scene, 2017

"Scale Model have undoubtedly found a middle ground between tight, heavy sounding drums, bass, and guitar, and the transient yet forward-propelling synth that makes the whole cluster of tracks on their recently released Star album transcend the normative staples of the over-saturated pop genre. What feels right (or at least absolutely right now) about Scale Model is the perfect balance throughout Star; every element in its place and in service of a set of sinuous, hook-laden, elegantly crafted pop songs."
-Amadeus Magazine, 2014

"From the reverb-slathered, Edge-esque guitar riff of album opener “El Cheapo” to the hearty, resounding synth line of closer “Impression,” locals Scale Model’s debut LP Star is rife with sonic references to the biggest, sleekest synth-pop and post-punk acts of the ’80s. Star’s standout...is likely its unapologetically glossy production, created with a cast of all-stars including Jeremy Ferguson and Bully frontwoman Alicia Bognanno (who oversaw tracking at Battle Tapes) and Self’s Matt Mahaffey (who mixed the record). The songs themselves are fun, optimistic and endearingly nerdy..."
-D. Patrick Rodgers, Nashville Scene, 2014

Machines Are People Too is:
  Brian Sylvester
  JJ Clark

theradiocity is following