Fantastic track and also new on Indietector Radio (http://ind-etectorrad-o.playtheradio.com/)

Den of Testosterone

Take It As It Comes

Available now on iTunes.

Recorded in Sydney, Australia 2013. 

Rum 'n' Cola

Oh No

Please Don't Tell My Lover

Spitting Off the Edge of the World

Spitting Off the Edge of the World (Lush Version) [feat. Perfume Genius]

Get Closer

Love By The Sea

'Bros' from Wolf Alice's debut album, 'My Love Is Cool'. 
Out now on iTunes: po.st/MyLoveIsCool
Double heavyweight vinyl po.st/MLICvinyl
CD: po.st/MLICcd

Wolf Alice - Bros

Check out The Crookes' latest single "Afterglow," from Fierce Panda Records. 

The Crookes - Afterglow

Our debut album "When It Was Now," is now available on iTunes- smarturl.it/atlas

Subscribe for more new music on YouTube- bit.ly/W8yTQS
iTunes - www.smarturl.it/atlas
Facebook- facebook.com/atlasgenius
Twitter- twitter.com/atlasgenius
Tour Dates- atlasgenius.com/tour

About Atlas Genius-
The members of Adelaide, Australia’s Atlas Genius do things a little differently….They set about building a studio where they could write and record music for their newly formed band 3 years before they even played their first live show as Atlas Genius. For two years, they devoted their days to constructing their dream studio and spent their nights performing songs by The Police, The Beatles and The Rolling Stones at local pubs to pay the bills. “We really got down and dirty with dry walling and literally laying the floorboards, and at the same time we were taking a couple of days a week to focus on writing songs,” recalls Keith Jeffery, Atlas Genius’s vocalist/guitarist. "We had a lot of song ideas and it was important to us to have our own studio where we could experiment and hone in on our sound," adds brother and drummer, Michael Jeffery. The studio was designed and outfitted by the brothers with the help of their father (who comes from a music and engineering background). Once the studio was complete, the first song that Atlas Genius finished was a song called “Trojans,” which they wrote, recorded and produced in collaboration with their friend, keyboardist Darren Sell. After many weeks tweaking the song, Michael insisted that the song was ready to be heard outside of the studio walls. Within an hour, “Trojans” was on the Triple J Unearthed Website, SoundCloud, and for sale via TuneCore on iTunes, Amazon and Spotify worldwide.

“We had begun to think that music was a pipedream and we had all gone back to university to pursue more realistic careers,” says Keith. “We’d had such a long slog of playing late nights and working all day, and it felt like we didn’t really have anything to show for it.” But then, in the midst of cramming for their Fall 2011 semester final exams, Neon Gold discovered “Trojans” on the Triple J Unearthed Website and wrote a post praising “Trojans” as a song sure to “invade your head, all dressed up in a clever disguise of earnest vocals riding a hooky riff.” Checking the band’s email account for the first time in over a month, the band found that dozens of record labels, publishers, lawyers, booking agents and management companies from all over the world had contacted them.

“We were trying to focus on school, but it was just impossible,” recalls Keith. “So we said, ‘There’s something going on here. Let’s get back to the music.’” The band added manager, Jonny Kaps from +1, to their extended family to navigate all of the interest as the band focused on writing and recording more songs.

Quickly named an iTunes Single of the Week in Australia and New Zealand, “Trojans” reached #4 on Hype Machine by the end of May. In August, SiriusXM Satellite Radio’s Alt-Nation discovered the song on a blog and decided to give it some spins. There was an immediate reaction from listeners, and in September, “Trojans” was placed into heavy rotation, where it maintained a top-five position on the listener-generated Alt-18 countdown and peaked at number one for 4 consecutive weeks in January 2012. “Trojans” began selling over a thousand tracks per week on U.S. iTunes and soon climbed to 45,000 sales - all with zero promotional efforts from the still-unsigned Atlas Genius.

“Knowing we had this audience that was waiting on new songs, we had a much greater sense of purpose than we had before,” says Keith. “It was really exciting to know that there were people who wanted to hear more of our music.” Although labels were clamoring for the band to come to the U.S. and play a series of showcase gigs, Atlas Genius turned down those offers in favor of staying in Adelaide to keep writing and recording new songs. In February 2012, after months of communicating with numerous labels via Skype, the band chose to travel to the US in order to make their label decision.

“We’d never been to America before,” says Keith. “We flew in at night and saw this sea of lights, and it really became apparent to us how massive the U.S. is. It was pretty intimidating - like ‘How do we fit into all this?’” In April 2012, the band returned to the states having made their decision to sign with Warner Bros. Records. “We felt a connection with them,” notes Keith. “Everyone there feels very creative and dedicated to the music.”

The band’s first release from their new label home, the EP Through The Glass (produced, engineered and mixed by the band), came out in June of 2012. With Through The Glass completed, Atlas Genius then holed up in its studio and worked on writing and recording its first full-length album, while at the same time rehearsing for their first ever tour. The tour started in August 2012 and led to three more tours back to back taking them thru to the end of the year. Thus, their full-length debut was finished up between tour dates and got completed just before Christmas 2012. When It Was Now is set for a US release on February 19th, 2013, with an international release to follow soon after.

The debut captures Atlas Genius’s singular combination of sophisticated musicality and warm, wistful spirit. Infused with a classic sensibility, each of the songs would fit seamlessly if somehow slipped into a long-treasured mixtape. On the shimmering “Symptoms,” for instance, taut keyboard riffs mesh with urgent acoustic strumming before the band bursts into a gently frenetic, guitar-drenched chorus. Meanwhile, “Back Seat” blends its pulsing bass throb with a sweetly infectious beat and tender vocals that alternately soar and sigh. And on “Trojans,” Atlas Genius begins with a restrained guitar melody and vocal (“Take it off, take it in/Take off all the thoughts of what we’ve been”) before giving way to the handclap-accented, harmony-soaked refrain and lush yet kinetic bridge.

“It’s still surreal,” says Keith of all that’s happened over the past 18 months. “I think when we were very young, we had hopes that something like this might happen one day,” he continues. (Thanks largely to encouragement from their Beatles fanatic parents, who encouraged the brothers to begin playing music by age 14.) “But then you grow up a bit and it seems less and less likely. So when we put ‘Trojans’ out, we figured it would be a success if maybe a hundred people heard it. We don’t want to force our music onto anyone. Our goal is to write songs that we love and we hope they connect with other people too.”

Buy on iTunes

Atlas Genius - Back Seat

Walking Backwards

Mtn Tune

http://thezolasmusic.com
http://www.lightorganrecords.com

Purchase "Knot In My Heart" on iTunes, here - http://itunes.apple.com/ca/album/knot-in-my-heart-single-single/id563638627

After debuting with Tic Toc Tic in 2009, The Zolas scaled the precipice of cult status across Canada, thanks to a loyal fanbase carried over from Zach Gray (vocals, guitar) and Tom Dobrzanski’s (piano) earlier years as Lotus Child.
With Ancient Mars, their second album, The Zolas are set to continue their legacy of postmodern pop. Armed with poetic lyrics, Ancient Mars trades in the cabaret glitz of Tic Toc Tic for reverbed pianos and hard, minimalist beats.
In “Strange Girl” a sunny guitar riff blasts into the perfect mid-‘90s summer jam, while title track “Ancient Mars” is bouncy and nostalgic, with heaping spoonfuls of Montreal and Brooklyn avant-pop. If John Lennon and Kanye West met later tonight at a hotel bar, “Escape Artist” is the song they would write. It’s these kinds of pairings that Ancient Mars is full of: The Zolas write classic pop songs and then fuck them up until the hooks have to fight to get out.
As if to offset Ancient Mars’ aesthetic diversity, the lyrics are raw and focused. The Zolas’ tumultuous songwriting captures the zeitgeist of being in your 20s, on the cusp of youth and real adulthood. In each song Gray builds a skeleton of a setting – from outer space to a college library to a Victorian jail cell – and tells stories fleshed out with the listener’s own history.
In October, The Zolas teamed up with Winnipeg’s The Liptonians to release a 7” split single “Cultured Man”, a quixotic snack in between the two full-length albums.
Dobrzanski is the band’s on-board producer, having worked with names in indie-rock royalty like Said the Whale and We Are The City, but for Ancient Mars production duties were handed over to Chuck Brody (Phantogram, Wu-Tang), much like how 2009’s Tic Toc Tic was produced by Howard Redekopp (Mother Mother, The New Pornographers).

Released by: Light Organ Records
Release/catalogue number: 25396 03532
ISRC: CA-B39-12-00819

The Zolas - Knot In My Heart

The Georgia EP

Waterfalls

Fleet Foxes 
http://www.subpop.com/artists/fleet_foxes
http://www.fleetfoxes.com 

Helplessness Blues

Fleet Foxes - Helplessness Blues

With ORPHAN, Empires climb to rare heights. Their vivid rock ‘n’ roll is now fused with an imaginative and open-armed approach. Born of singer Sean Van Vleet’s fascination with contemporary popcraft, songs like “Please Don’t Tell My Lover” and the night-driving “How Good Does It Feel” see the Chicago-based band adopting time-honored romantic idioms, both musical and lyrical, to mask deeper and darker personal truths.

Van Vleet put pen to paper and began to write in a wholly free space, with no expectations or endgame in mind. He explored a musical language that was quite literally out of character, imagining his songs performed not by Empires but by some indeterminate modern pop thrush.

“It was really freeing,” Van Vleet says, “just trying to put myself in somebody else’s shoes, another artist’s voice. I stopped overthinking what I was trying to say and started saying it much more clearly.”

Van Vleet also immersed himself in classic post punk and indie rock ‘n’ roll circa 1989-1991, his mind’s eye reeling as he delved into the canons of such sonic adventurers as My Bloody Valentine, Wire, and Nick Cave & The Bad Seeds. Songs like “Orphan” and “Shadowfaux” emerged as Van Vleet accessed previously untapped springs of melody, lyric, and meaning. He eventually played his demo recordings to his fellow band members, who surprised him by validating his efforts, demanding Empires tackle this divergent new material themselves.

“I was just showing them to Max,” Van Vleet says. “I had no idea it was something he’d be into. In my mind, it was this extreme pop but the songs really resonated with the band, which for some reason, I didn’t expect to happen.”

While prior Empires recordings had been produced, engineered, and mixed by Steger, the band agreed the time had come to see what an outside influence might bring to the table and in September 2013, traveled to Dallas for three weeks of sessions with producer John Congleton. Known with his work with such dissimilar artists as St. Vincent, The War On Drugs, Cloud Nothings, and The Black Angels, Congleton proved the ideal midwife for Empires’ aesthetic rebirth, assisting them as they shed deeply rooted means of expression.

“John took ideas that we thought were golden and threw them away,” Van Vleet says. “He said, ‘You need to let the song be what it is and you need to live with it.’ And that’s what we did. He taught us not to hide our songs, to let it all shine through.”

Stripping Empires’ already expansive sound to its essence exposed far more range and emotional heft to songs like “Lifers” and the cutting “Hostage” – the guitars sound richer and atmospheric, the rhythms subtle and fluid yet more powerful at the same time. Throughout the album, Van Vleet’s raw croon rises to match the band’s musicality, conveying anxieties, secrets, and a heartfelt longing for transcendence.

ORPHAN serves a forward-thinking landmark as Empires continue to grow and venture towards unprecedented terrain.

“Now we’re going to go deeper into this new direction, see how we evolve within it. We’re just scratching the surface on who we are.”  May 2014

Please Don't Tell My Lover

Empires

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