From Chastity Belt's debut album No Regerts, out on August 13, 2013. 

Buy No Regerts:  
Help Yourself (vinyl): www.shophelpyourselfrecords.com
iTunes: https://itunes.apple.com/us/album/no-regerts/id720263290

Like Chastity Belt on Facebook: www.facebook.com/chastitybeltmusic/
Follow Chastity Belt on Twitter: www.twitter.com/CHAST1TYBELT

Like Help Yourself on Facebook: www.facebook.com/helpyourselfrecords
Follow Help Yourself on Twitter: www.twitter.com/HYRecords
Follow Help Yourself on Soundcloud: www.soundcloud.com/helpyourselfrecords

Listen to "Seattle Party" by Chastity Belt here:
https://soundcloud.com/helpyourselfrecords/seattle-party

Recorded and mixed by José Díaz Rohena
Mastered by Chris Hanzsek
Artwork by Jake Muilenburg

Chastity Belt - Black Sail

"MG 333" by Richard Swift from 'Walt Wolfman'. Originally released 10/18/11 on Secretly Canadian

About a year ago, Richard Swift horrifically fractured his left ring finger. For a moment his nimble guitar and piano work flashed before his eyes. Doctors were saying things like "movement and feeling could eventually return," etc, etc. Certainly, not even a little blip on the sadness radar of humanity, but a massive bummer for a fellow who has carved out a niche as one of independent music's sought after session players and producers -- and especially in relation to the astounding Richard Swift solo output we all know and love.
So, it's with a great, collective sigh of relief that he's back to churning out new material like "Whitman." It's chugging, chiming and triumphant, featuring Swift's always-endearing falsetto and casual call-and-response lyricism. "I've got my own Whitman...Farewell, farewell/I hope it did you good/To say the things/My father never could," Swift pines. The song is a cryptic salute to Walt Whitman, whose American lineage of primal, urgent art can be traced to include Kerouac and Dylan, Bo Diddley and Beefheart -- right on through to modern outsider-pop wunderkinds like Swift. And according to Swift, "Whitman" is a nice taste of what we can expect from his next longform recording.
The same can be said for the remainder of the Walt Wolfman EP. Conceived in the same spirit that gave us 2008's cult favorite Ground Trouble Jaw EP, these blown-out, basement R&B rippers are not for the faint of heart. They require movement and sweat, dancing with a cocktail glass in your grip until your shoes are soaked in booze. Highlight of the set, "MG 333," is a raw and ghostly trance, a blast of kinetic energy and jazz cigarette smoke. Meanwhile, the neu-vintage jive of "Drakula (Hey Man)" and "Zombie Boogie" pack a timelessness that transcends their seasonal titles. And yeah, that's Swift himself on rapid-fire drums across the whole damn set. Shit, he might have been fine without that measly finger after all.

"MG 333" by Richard Swift from 'Walt Wolfman'. Originally released 10/18/11 on Secretly Canadian

Walt Wolfman

MG 333

Richard Swift - "MG 333"

Requirements

Right Now is written by Annelotte De Graaf 

Produced, recorded and mixed by Ben Greenberg
Mastered by Josh Bonati at Bonati Mastering, Brooklyn, NYC

All songs recorded and mixed at Strange Weather Recording Studio and Figure 8 Recording, Brooklyn, NYC

Guitars by Shane Butler
Bass by Keven Lareau
Drums by Jackson Pollis

Artwork and photography by Nick Helderman
www.amberarcades.net

Management by MMM

Fading Lines

Right Now

'Dianne' is the first single from Teeth & Tongue's forthcoming record 'Give Up On Your Health'

Pre-order: https://remotecontrolrecords.lnk.to/teethandtongue

Teeth & Tongue - Dianne

iTunes pre-order: http://smarturl.it/cagetropical
Bandcamp pre-order: https://frankierose.bandcamp.com/album/cage-tropical

After spending years as a major presence in Brooklyn’s thriving music scene, Frankie Rose relocated to her familial home of Los Angeles for 18 months with the intention of establishing yet another moment in her storied indie rock métier. Gradually, she found herself short on sleep, funds and optimism. "I moved to LA, drama ensued and I ended up on a catering truck. I was like, how can this be my life after being a touring musician and living off of music. I had really lost my way and I thought I was totally done."

Through sleepless nights of listening to broadcaster Art Bell’s paranormal-themed archives, Frankie’s thoughts had turned to "who am I, I’m not cut out for this business, it’s not for me." She continues, "I was literally in my room in L.A., not knowing how I was going to get out. But out of it all, I just decided to keep making music, because it is what I love and what I do – regardless of the outcome."

Towards the end of her time spent in Los Angeles, Frankie reached out to Jorge Elbrecht (Tamaryn, Gang Gang Dance, Violens) and began sketching what became the basic outline of what felt like a new album. Then, rather fortuitously, Frankie ended up back in Brooklyn with the realization that "in the end, I’m on my own. I have to do these things on my own."

The months that ensued meant basically working with no budget and finding ways to record in-between days. This time enabled Frankie to experiment musically with a variety of people that ultimately changed the way she worked. "I got a lot of input from people like Dave Harrington (Darkside), who was helpful reconstructing the songs, adding dynamics and changing up the rhythms."

The result of this existential odyssey is Cage Tropical, Frankie’s 4th album. It is awash with vintage synths, painterly effects pedals, upside down atmosphere and reverberating vocals. It evokes a new wave paranormality of sorts that drifts beyond the songs themselves. "My references aren’t just music," says Frankie, "I love old sci-fi. They Live is one of my favorite movies ever, same with Suspiria. 80’s sci-fi movies with a John Carpenter soundtrack, with silly synths – that makes it into my file, to the point that I’ll write lyrics incorporating that kind of stuff. It’s in there."

Beginning with the shimmery, cinematic and percussive sparkling of the album’s opening track "Love in Rockets," the song’s refrain of "a wheel, a wheel of wasting my life: a wheel, a wheel of wasting my time" immediately alludes to those darker circumstances that led to the creative origins of Cage Tropical."It’s all essentially based on what happened to me in Los Angeles and then a return to Brooklyn," says Frankie. "Misery turned into something good. The whole record to me is a redemption record and it is the most positive one I’ve made"

 "I feel like I am finally free from worrying about an outcome. I don’t care. I already lost everything. I already had the worst-case scenario. When that happens, you do become free. In the end, it’s about me rescuing myself via having this record."

Cage Tropical

Buy LP/CD

Frankie Rose - Trouble

Cut Worms - “Song of the Highest Tower" from ‘Alien Sunset EP’ out Oct 20th on Jagjaguwar 

Pre-order / Stream / Download - https://cutworms.lnk.to/aliensunset

Cut Worms - Song Of The Highest Tower

ANNA ST. LOUIS
FIRST SONGS
woodsist092 / mare002
release date: November 3, 2017

Despite her last name, Anna St. Louis was born and raised in Kansas City. She grew up a painter and singing in punk bands, eventually leaving her hometown to attend art school in Philadelphia. After graduating she made the move to Los Angeles where she began teaching herself guitar, writing songs and recording them on her own in her bedroom. First Songs is the sound of someone discovering their talent in real time - a peak into the collage of a wonderful mind that is absorbing their new surroundings and using new tools to put them into the room. Listening to this collection you can feel the sun coming in through the window - Anna on the foot of the bed with a guitar on her knee, finding her voice. St. Louis wears her influences well - think Patsy Cline singing over John Fahey - but has a style all her own. And while you can take the artist out of the midwest, you can't take the midwest out of the artist - so let this be known; this is Midwestern music ran through a California filter. I believe Anna will have many more releases in her lifetime, but let it all begin here - First Songs.

ANNA ST. LOUIS - Fire (Mare Records)

From the album Warrior, available April 6, 2018 from Western Vinyl

Bandcamp: https://airwaves.bandcamp.com/album/warrior
iTunes: https://itunes.apple.com/us/album/warrior/1337353378?ls=1&app=itunes
WV: http://westernvinyl.com/shop/wv167

The album cover for Warrior, the third full-length by Brooklyn-based band Air Waves, features a ominous, androgynous figure standing with a bicycle, wearing a gas mask adorned with a daisy.  The remarkable image was taken on April 22nd, 1970 at the inaugural Earth Day celebration in New York City by Nicole Schneit’s dad, Martin Schneit.  Forty-seven years later, artist Em Rooney hand-painted Schneit’s original black & white photo, resulting in an image that radiates with Warrior’s indefatigable spirit, strength, and love.

Like many queer women, Nicole Schneit is a warrior by necessity, fighting for basic rights, dignity, and acceptance.  Such determination in the face of hardship and injustice runs in Schneit’s family; her new album was inspired in part by her mom who was diagnosed with fallopian cancer last year.  As she explains, “The doctor told her she had a fifteen to twenty percent chance, and her response was ‘I’m going to get this mother fucker.’ So the title ‘Warrior’ and the song are about her. After chemotherapy,  surgery, and then more chemotherapy, all the cancer in her body has left and she's currently in remission. I feel like most of the people in my life, including myself, are warriors and have overcome obstacles that seemed impossible to defeat.”

The dignified fighter archetype referenced in the album’s title is explored on each of Warrior’s eleven pieces of bittersweet, empowering indie pop.  According to Schneit the song “Gay Bets”, written after the 2016 election is “about being gay and being proud and open. I was thinking about hate crimes spiking and the current state of the world. My friend Jennifer Moore, who sings on the track, was my partner a long time ago, so I felt like I was writing a fuck you to Trump, for trying to take away queer rights, women's rights, people's rights.”  The song “Tangerine” was inspired by the film of the same name in which two trans women try to make ends meet as prostitutes. This movie, a dark docu-comedy shot in the contrastingly sunny setting of L.A., reflects Schneit’s battle between identity and society via Brooklyn pop rock that swings between the pastel-tinged and the downright melancholic.

On the album’s gorgeous closer “Blue Fire,” (inspired by the Adrienne Rich poem "The Will to Change") Schneit equates her post-presidential-election anxiety to a flame that grows and recedes, as she pleads for herself and listeners to remain calm. Like its namesake, the track burns slowly and brightly into one of the most glowing points on the record, leaving the listener smiling with thoughtful hope.  Warrior’s highlights, and all of the unmissable, satisfying pieces that tie them together show Schneit’s perseverance and resilience through crumbling relationships, personal adversity, and the current political climate, all leading to her most powerful collection of songs to date. Understated, subtly sophisticated, and equally empowering and comforting, Warrior launches Air Waves above the apolitical complacency of too many of the group's contemporaries.  Schneit proudly declares her mission statement: “I want these songs to be heard by people in my queer community, but also by anyone that wants to feels strong, powerful, and included.”

ANNA ST. LOUIS - Fire (Mare Records)

WOODSIST

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