NEW SINGLE! CAN'T HANG ON
https://bodylanguage.bandcamp.com/album/cant-hang-on

SHOWS!

11/18 Washington DC @ DC9 Nightclub - http://goo.gl/Q3unr8
11/19 New York @ Rough Trade NYC - http://goo.gl/IpnSK1
11/20 Boston @ Great Scott- http://goo.gl/EX0QxP
12/1 San Fran @ Swedish American Hall - http://goo.gl/t4MY27
12/3 San Diego @ Soda Bar - http://goo.gl/3mLPej
12/4 - Los Angeles @ The Echo - http://goo.gl/vu6jue

French Horn Rebellion’s latest album, "Graduation Compilation" is out now. Get it here: https://youtoocanwoo.lnk.to/graduationcompilation

Known for its “delightfully bizarre” (Vice) spin on indie-dance, French Horn Rebellion (FHR) is a music project that combines dance-punk, French touch, and electro with classic songwriting sensibilities.  It was co-founded by Robert and his brother David Perlick-Molinari in 2007.  Both currently work at David’s production studio in Williamsburg Brooklyn, YouTooCanWoo, and curate a new indie disco and house record label, @toucansounds

In 2007, Robert was a young classical horn player in the Chicago area making beats on his laptop, and throwing house parties.  Finding more joy in electronic/dance music than in the classics, he with the help of his brother David (who had recently produced MGMT’s Time to Pretend EP) created FHR and the duo released their first single together, ‘Up All Night.’

Soon after, Robert booked a 30-show national tour (mostly using Myspace) from Brooklyn to El Paso, playing every DIY electro party along the way.  From the friends they made that year, FHR was invited to play SXSW, sparking interest from the dance scenes of London and Paris to Seoul and Tokyo.  As a poster child of Brooklyn eclecticism, they received steady radio play on BBC’s Radio 1 and event performances with Les Inrocks and Kitsuné Maison.  In two years, the brothers went from playing the punk-venue basement at Lit Lounge in Manhattan, to the basement of the Louvre in Paris for the show of famed fashion legend Jean Charles de Castelbajac.

Over the last 10 years FHR has performed as a DJ as well as a live band across 5 continents, while collaborating on stage and in the studio with some of the most influential music artists of our time including official remixes for Beyoncé, Two Door Cinema Club, Sia, OMD and tours with Of Montreal, Cut Copy, Yelle, Hot Chip, SebastiAn as well as original studio collaborations with St. Lucia, Autograf, Jody Watley, The Knocks and many more. 

They have received praise from some of the world's leading media outlets including The New York Times, Billboard and The Huffington Post.  LA Weekly said, “We wish America had a million bands like this,” while in the UK,The Guardian regarded FHR's music as “killer dance-pop.”

FootWerk, pronounced Foot Werk. Noun meaning the act or process of maneuvering, especially in a skillful manner. @footwerkmusic

Our new album “Year of the Banana” is out now 🍌💛
https://lnk.to/YearOfTheBanana

New album, Heatherhead, out now!
https://generationals.ffm.to/heatherhead

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

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.

twitter.com/themjeans
instagram.com/themjeans

Grammy award winning recording artist from Portland, OR.

RAC x Great Good Fine Ok - "Fine" - OUT NOW:
https://ffm.to/racxggfo


MANAGEMENT:
Alex Frankel & Chris Maher [FM Group @ YMU]

BOOKING:
(NA/SA/AUS Live) Darryl Eaton & Bobby Cory [CAA] rac@caa.com
(NA/SA/AUS DJ) Hunter Williams & Mac Clark [CAA] rac@caa.com
(EU/ASIA Live) Andy Cook [CAA] rac@caa.com
(EU/ASIA DJ) Roman Trystram [CAA] rac@caa.com

LEGAL:
Craig Averill [Serling Rooks Ferrara Mckoy & Worob LLP]

New Single "Hot Brown" OUT NOW!
Listen--> https://tauk.ffm.to/hotbrown

Full length album 'Somewhere Between Here And There' Out September 5th!
Presave--> https://tauk.ffm.to/somewhere

TAUK has been painting with sound for nearly a decade now, pushing boundaries and reinventing themselves every chance they get. Founded by Dolan, Jalbert, and Carter, who began playing together as middle schoolers on Long Island, the band landed on its present incarnation in 2012, when college pal Teel joined full time.

Since then, the quartet has gone on to tour with the likes of Umphrey’s McGee, Widespread Panic, and Lettuce, landed festival slots everywhere from Bonnaroo to Electric Forest, racked up millions of streams across platforms, and garnered extensive critical praise with a series of widely lauded studio and live albums. The Washington Post hailed the band’s music as “a hard-charging, often melodic fusion that—thanks to a penchant for improv—offers limitless possibilities,” while Keyboard Magazine declared that their sound “doesn’t adhere to a single genre but, instead, creates its own,” and Relix dubbed them “an incredibly impressive ensemble of talent.”

MGMT: erwin@regimemusicgroup.com

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