Category: News
Countdown to Hangout 2017
Live music and the beach, does it really get any better than that? In a few hours, fans will be flocking to the white sandy beaches and the turquoise water of Gulf Shores, AL, for the annual Hangout Music Festival.
This year’s line-up boasts the likes of Mumford & Sons, Phoenix (who has replaced Frank Ocean), Twenty One Pilots, Chance the Rapper, Weezer, Major Lazer, MGMT, and many more.
Hangout kicks off tomorrow with an annual Thursday Kickoff Party featuring Migos, Cherub, Tchami, DJ Jazzy Jeff and special guests.
So whether you’re stuck at your desk the rest of the week or prepping to make the journey to the Gulf, give our Hangout playlist a spin to get you weekend ready.
See you on the beach!
Join Us at SXSW for the 11th Annual Athens in Austin Party
We are so excited to sponsor the 11th annual Athens in Austin Party, To Eleven!
Local acts will be performing at The Side Bar, located at 602 E. 7th Street in Austin, Texas during SXSW. The party will occur from noon to 9:00 p.m. on Saturday, March 18.
Artists in attendance will include Cindy Wilson of the B-52’s, Mothers, Muuy Biien and a crapload of other killer acts.
Check out the lineup here:
12:00 p.m. – Juan de Fuca
12:30 p.m. – Neighbor Lady
1:00 p.m. – DEEP STATE
1:30 p.m. – Chief Scout
2:00 p.m. – Thayer Sarrano
2:30 p.m. – The Nude Party
3:00 p.m. – Eureka California
3:30 p.m. – Mothers
4:00 p.m. – White Violet
4:30 p.m. – Oak House
5:00 p.m. – Lee Bains III & The Glory Fires
5:30 p.m. – Muuy Biien
6:00 p.m. – The Dexateens
6:30 p.m. – Cindy Wilson (of the B-52’s)
Other sponsors include Georgia Theatre, Athens Convention and Visitors Bureau, Athens Popfest, Bragg Jam Music, Arts and Kids’ Festival, Chase Park Transduction, Cottonseed Studios, Dos Equis, Flagpole Magazine, Georgia Tourism, Grindhouse Killer Burgers, Kindercore Vinyl, Laser Brains, Newk’s Eatery, Normaltown Records, RubySue Graphics, Tiger Bomb Promo, UGA Music Business Program and We’re HEAR For You.
If you’re in Austin for SXSW and want a little taste of Athens, we’ll see you there. Double fisting Lone Stars. All damn day.
Song Premiere: Jo Harman – “No One Left To Blame”
Jo Harman is back with her signature bluesy style in her new single “No One Left To Blame.” The track marries her smooth vocal line with a rock-driven bite and leaves us even more excited to hear the rest of the album. People We Become will be Harman’s second studio album and drops on February 3rd. While her first record was released independently in 2013, this time she’s teamed up with Sands Foley Entertainment.
“‘No One Left To Blame’ is, like most of the songs I write, more about my relationship with myself than anything else,” Harman says. “People can take from it whatever they find in it—I’m not even sure I understand it completely yet. But I guess it comes from a place of self doubt, of self blame, of experiencing loss. The Nashville musicians did a fantastic job with this, and I especially love Pat Buchanan’s slide guitar playing. My friend Mike Ross back home had some incredible old vintage pedals from the ’70s which give us the sirens in the middle section—he ‘played’ those parts live, no samples or digital enhancements in sight. I think they add a perfect tension to an already rather dramatic track!”
The singer-songwriter hails from Southwest England, but made the trek to Nashville to make this record. With a producer like Fred Mollin (Billy Joel, Carly Simon, Joe Cocker) and a feature from The Doobie Brothers’ Michael McDonald, fans are sure to have their soulful cravings met. To get the full Harman effect, grab a seat at Joe’s Pub in New York City on March 28 to witness her first US live performance. It’s sure to be a good show since Harman is no stranger to the stage. After her first record, she performed with Sinead O’Connor and Patti Smith, just to name a few.
Listen to “No One Left To Blame” above.
New Music Mondays: the quiet pack
This week’s edition of New Music Monday’s focuses on an Athens, Georgia, based artist named Marshall Moore, but better known as “the quiet pack.” This interview has been edited and condensed for clarity.
VM: Tell us about your project.
Marshall: My conception for the quiet pack was that it would be a slow-jams oriented music project. Not exclusively slow in tempo, necessarily, but somewhere in line with the tradition of music to put on when things get steamy. That’s where the ‘steam’ in the EP steam zone comes from. I sort of like the idea of music that feels like a place you can go to. The way I do that, which is sort of a hacksaw way of going about it, is that most of my songs take place in some sort of distinct setting. So I knew that I wanted the name of the project to be vaguely geographical. ‘zone’ seemed like the most fun location-based word I could find.
VM: Did you have any previous experience with music before starting this project?
Marshall: Yeah, I have been doing music stuff in some sort of capacity for several years. Before the quiet pack, I had a rap project called Hairy Confucius. that project was more consciously goofy I guess, not that the current one necessarily isn’t, but you know. I pursued that for a while until retiring it in December of last year. A friend of mine actually hosted a funeral house show which was probably the most fun show I’ve done. Everyone wore black and it was my last show under that name. I don’t know, this certainly isn’t unique to me but sometimes it just feels kind of necessary to obliterate some creative thing you’ve done. I just felt like it was time for a new project! Other than that, I stay making music pretty much constantly, but most of it is for process rather than product. for the purpose of getting better at stuff rather than orienting towards a release.
VM: What is the writing/music making process usually like?
Marshall: For this project, I spent a lot of time making a whole lot of instrumentals. When I made one that I really liked, I’d move on to writing the lyrics for a new song.
VM: Who are your biggest musical influences?
Marshall: This is a tough question because I feel like many of the artists I look to the most don’t tend to show themselves very much in my music. Loose Ends are huge for me, Sylvia Robinson, and Smokey Robinson as well. I look heavily to The Beach Boys, especially Smiley Smile and definitely a lot of Europe [music] – O-Zone, Vengaboys, Scatman John, things in that field.
VM: Tell us about your EP “steam zone”
Marshall: steam zone is my debut EP. For my first project I wanted to release something where I do everything from start to finish. So on steam zone, I made all the instrumentals, recorded all vocals, mixed everything, etc. I plan on collaborating more on future projects, but I wanted to come out the gate w/ something that was fully me. It features some fast-paced slow-jams and some friend anthems.
VM: If you could go on tour with any artist who would it be and why?
Marshall: I’d go with Soulja Boy because I’ve never gotten the chance to see him live and if I went on tour with him I’d get to see him like 20 times.
VM: Last album you bought?
Marshall: I think it was Bad Girls by Donna Summer.
[tps_header]Listen to the EP HERE[/tps_header]
[tps_header]UPCOMING SHOWS:[/tps_header]
December 1st @ Caledonia Lounge in Athens, Georgia
[tps_title]FOLLOW HIM ON SOCIAL MEDIA:[/tps_title]
[tps_header]Check out what Marshall is currently listening to!![/tps_header]
New Music: Parlour Tricks “Need Somebody”
Get ready for an irresistible new record. “Need Somebody” is the debut song for Parlour Tricks off of their EP: (what I think about when I think about) BODIES, which dropped October 28th.
Parlour Tricks is a New York City based indie band with Lily Cato as the lead singer. There is a certain polish to her voice that is refreshingly charming. She has been described as being a very outspoken woman, which shows through in the tone of her voice and especially the lyrics. The song “Need Somebody,” can be described as almost an ode to her late father, “After my father died four years ago, I found myself constantly thinking about bodies, fragility, bravery, fear.”
Cato goes on to explain that the song is not meant to be a sad track. The song is almost a celebration or admiration of human beings; even strong individuals, such as Cato, need someone in their life. Listeners are going to really enjoy such an honest track, and I’m sure they will love Parlour Tricks new EP: BODIES just as much.
Broken Hands x Vinyl Mag
Imagine you’re standing on a jetway, planes soaring above and beside you, the sound of jet engines roaring on all sides–and you might just know what it feels like to be in the crowd at a live Broken Hands gig. Relatively new to the music scene, the British rockers have already received significant U.K. radio airplay with their lead single, “Meteor,” and their debut album, Turbulence, is set for release Nov. 4. With slots at SXSW and CMJ, the band is already making significant headway into the U.S. market.
We sat down with bassist Thomas Ford to talk about the band’s exciting new release, inspiration, and what it’s like when you step foot through the door of a live show.
VM: How would you describe your sound to someone who is unfamiliar with the band?
TF: It’s kind of the sound of jet engines and flights we really tried to convey in the album. A lot to do with escaping. It’s pretty heavy but the song always gets what it needs at the end of the day.
VM: And your debut album is set to come out next month, so what are you most excited for fans to hear?
TF: Really just the whole thing. As soon as people understand what we are trying to say, even if they don’t really like it, that’s not good, but if people hear it and they understand what we were trying to say with the album, understand where we were when we wrote it, then that is kind of big for us.
VM: When you set out to record the album, did you have a set plan or was it more of an experimental process?
TF: The songs in themselves, it was like one main songwriter. And then we found almost the concept, the vehicle we wanted to write with. It was very easy to write together and to achieve the same kind of goal. So the songs we worked on for a good six or seven months, and then we got into the studio, and that’s a great place to check creativity because we are very like-minded. So once we kind of built the song and everything up around it, then we went mad with the sounds. It was pretty straightforward, but then we went mad at the end.
VM: So the music video for “Meteor“ was captured at one of your sold-out shows, and the whole venue is covered in silver foil. Is this something you do at every show? What’s the inspiration behind it?
TF: We were playing shows and the album wasn’t actually out yet. So we couldn’t have people see the cover and instantly see all of the information, what was there to convey the concept. So it was really important to us that when people came into the shows, they weren’t just guessing to what we were trying to get to. We wanted to really build the experience up. So we got these huge parachutes of silver foil and then draped the entire venue. Because you could be in a really normal, everyday club in London and then step through the door and suddenly you’re in this capsule, and light reflects off all the walls. And I think it tied into our concept. They hadn’t heard it yet, so they got to hear the concept before they had a copy of the album.
VM: Speaking of live shows, how would you describe the vibes from a Broken Hands gig?
TF: We really try and extend how we wrote the album over into the room. And embody each song as it comes. We’ve got quite a big energy. So it’s hopefully kind of the feeling of getting sucked into a vacuum and then popping out the other end, a very kind of loud, windy experience. It’s almost like hearing it sounds like you’re near an airport, hearing a jet engine go, hearing things soar from one side to the other. For us, it’s all about extending and embodying that and trying to bring people as close into that as possible.
VM: Since forming, you’ve landed spots at festivals including SXSW and CMJ, was this your first time playing in the U.S.?
TF: Yeah, SXSW was the first time. That was one of my favorite weeks, ever. The states are just fantastic. I’ve only been to a few places yet—New York, Boston, and Minneapolis is another favorite, and it’s so different every single time. So many different people. Pretty much everyone is very vocal. They tell you exactly what they want to say. Whereas in England, it doesn’t matter if they like it or not, they might just walk away from the show. Which is really odd. But I love it out there, it’s crazy and there’s always a whole bunch of people to talk to afterward, which is huge. SXSW is truly something. It was really up there for us.
VM: Do you have any dream venues to perform at?
TF: We like the look of Red Rocks, and there’s a really cool place in Minneapolis, I think it was called First Avenue. And then I think Terminal 5 in New York was one. But every single room we get to play in is going to be exhilarating.
VM: What kind of artists are you listening to at the moment? Are there any you look to for inspiration?
TF: We all live together in one big house, we moved in together to write the album. It’s kind of a strange thing because if one person really gets on something, then everyone else is drawn in on it. This week has been Depeche Mode, and they just announced a tour which is absolutely wicked. I think in terms of a show, a band that has longevity and composure, My Morning Jacket, are really big for us. Really admire what they do, especially on stage. The energy they put out, but at the same time, it’s so composed. It’s ridiculous. I would love if we could get anywhere near opening for them.
VM: Circling back to your new album, out of all the tracks on Turbulence, which lyrics resonate with you the most? Or do you have a favorite track, one you’re most excited for fans to hear?
TF: Funny enough it is “Turbulence.” It just embodies the most what we were going for in the album. I think it was the first track we wrote, and we were coming back through the old tapes, and things change in the recording process, but when we put on “Turbulence,” it hasn’t changed since the day we put it together and arranged it in rehearsal space. Every time we play “Turbulence” it really reminds me of the beginning of this whole thing. The beginning of the album, the beginning of getting out to the world.
Check out Broken Hands’ debut album, Turbulence, out Nov. 4 via SO Recordings.
Album Premiere: Billy The Kid & The Soulful Saints – ‘Pullin’ On My Heartstrings’
New York-based vocalist/songwriter/producer Billy The Kid (Billy Aukstik) is dropping his dreamy new 7-inch, Pullin’ On My Heartstrings, available now on vinyl and digital download.
“I wrote and recorded the Heartstrings 7-inch after studying the early demos of Sly Stone and countless arrangements by Allen Toussaint and other soul legends,” says Aukstik of the track. “Using the Maestro drum machine and an 8-track tape machine as my foundation enabled me to create simple yet honest arrangements and gives the record a very intimate feeling. The backing band, The Soulful Saints, is an all-star squad hailing from the crews of Charles Bradley, The Shacks, Mark Ronson, and many others.”
Aukstik is the founder of indie label Dala Records and is also a member of the Daptone Records family, currently playing trumpet with Charles Bradley and His Extraordinaires.
“Both ‘Pullin’ on My Heartstrings’ and ‘Love at Hello’ are inspired by the game of love and use many of my own experiences navigating that game as references,” Aukstik tells us. “I came up with the chorus to ‘Heartstrings’ first and then continued to paint a picture around those lyrics. Even though that song begins on the darker side, I wanted to write about the journey of love and why people come back around even after the hard times. I wrote ‘Love at Hello’ from a much more idyllic perspective, speaking to that moment when you lay eyes on someone for the first time and get swept off your feet. It was largely inspired by one of my friends who met someone at a show and then became totally enamored from that point on.”
The third and final track, a smooth instrumental piece, showcases both Aukstik’s influences and production skills.
‘Hit and Run’ was not inspired by love, but by the early instrumental recordings of Allen Toussaint, specifically the song ‘Tampin’’ which features The Meters under the pseudonym of The Rhine Oaks. I went for that gritty New Orleans sound of the ’60s by writing a simple jazz-themed melody and filling out the arrangement with piano, organ, drum machine, and a big horn section. I even recorded a call to prayer from my local mosque and included it in the song’s intro, attempting to recreate those ‘sound on sound’ techniques that Toussaint and other producers of that era were known to utilize.
Listen to the exclusive premiere of Pullin’ On My Heartstrings right here.
Artist to Watch: Blaenavon
Since the debut of their single ‘Into the Night’ in 2013, Blaenavon (pronounced Bly-nay-von) has evolved their sound to have an identity just as recognizable as long-established bands. Their sound has been described in a variety of ways from indie-rock to alternative-pop, but the three members identify themselves to be an ghostjazz band.
The members; Ben Gregory, Frank Wright, and Harris McMillian; started their journey as teenagers in school which makes it an obvious and exciting development to see the evolution of their records as the members have grown older. Ben Gregory, the front-man and songwriter, has honed his creative process to be a meticulous analysis of each work as it compiles a relevant story to things happening in their lives. It all comes down to three maturing individuals telling their life story.
Transgressive Records has debuted Blaenavon’s Miss World EP and Koso EP which have gained rave reviews from fans and others in the industry. Their latest release ‘My Bark Is Your Bite’ was released on Spotify on October 3 this year and is no less than captivating than the rest of their song portfolio. The conveyance of each track’s story can be heard through the fundamental technique and underlying grit of the vocals. As they continue to take the UK by storm on their first headlining tour, it can be assumed that Blaenavon will continue to tell their story through music for a long time.
UPCOMING NYC DATES:
11/01 – Brooklyn, NY @ Baby’s All Right
11/02 – New York, NY @ Berlin
Musicians Come Together to Stop Trump in Online Campaign “30 Days, 30 Songs”
In an effort to deter the possibility of a Donald Trump presidency, an online campaign known as 30 Days, 30 Songs will release a protest song by a well-known artist each day until the election on November 8.
The songs, as expected, will all have anti-Trump themes. Still, the goal of the project is not just to warn people of the unrest that would result from a President Trump, but also to ignite support for Hillary Clinton. The site features open letters of persuasion to groups – such as “Obama supporters not feeling it for Clinton” – who are hesitant to give their vote to her.
Their approach is not to overwhelm readers with the potential positive aspects of a Clinton presidency, but to highlight her as the only viable alternative “who can prevent the apocalypse that would be Donald Trump as president.”
So far, three songs have been released from the online campaign. The first from the 30-day effort is Death Cab for Cutie’s “Million Dollar Loan,” which alludes to the “small” loan of $1 million Trump received from his father to start his business. Lyrics to the tune include, “Call your father on the phone and get that million dollar loan,” and “He countersues from any corner he’s backed into.”
The song’s message was clearly enough to rile Trump, who tried to minimize the song’s credibility by telling Sean Hannity the band is “small potatoes.” The second song is by outspoken singer-songwriter Aimee Mann, titled “Can’t You Tell?” which is written from the perspective of Trump himself. And out today is “With Love from Russia” by Bhi Bhiman.
Trump has yet to comment.
Other artists set to release songs as part of the project include R.E.M. and My Morning Jacket. The music is available on the 30 Days, 30 Songs website as well as Spotify. Streaming proceeds from the campaign will be donated to The Center for Popular Democracy.
Big Name Artists Bring Huge Crowd to Atlanta Pride
The annual Atlanta Pride Festival was held in Piedmont Park this past weekend, drawing in people from all over the Southeast with its welcoming atmosphere and its high-profile music lineup.
Although Atlanta Pride has been underwhelming in terms of music acts in the past few years, this year was a different story. Power 96.1 sponsored two of the performing artists, bringing Top 40 sensations Kiiara and Zara Larsson to the festival.
The headliner was none other than R&B icon Jody Watley, accompanied by members of her former group Shalamar. Towards the end of the day on Saturday, each of these women took to the Coca Cola Stage to perform their sets. The star power undoubtedly helped boost attendance at 2016 Pride to 300,000, which far exceeds the 200,000 expected to attend and makes the festival the most attended in Pride History.
This was good news not only for members of the Atlanta LGBT community but also for Atlanta businesses. In between the two performance stages was about a mile long strip of stations where local businesses and nonprofits lined up to meet potential customers and donors. Drawing a crowd is crucial for these businesses to expand to and growth within the LGBT community, which is why revamping the festival’s musical element was imperative for an attendance boost.
The Atlanta Pride Committee partners only with local gay and gay-friendly businesses who adore their involvement with the festival and organization, some of which are already engrained in the LGBT community. Joanne “Jo” Steiner of Sips n Strokes in Toco Hills has been a partner “since a time when it wasn’t popular to do so.” Just as she supports Pride, Atlanta Pride supports her and Sip n Strokes, “We are truly partners. We’re all here for one another.”
According to Pride’s 2014 survey, 72 percent of attendees purchase a product or use a service from a company that they were introduced to at Pride, and 90 percent of attendees are likely to do business with a company because of their involvement with the organization. Thanks to 2016 Pride’s stellar lineup, local businesses that are part of and friends to the LGBT community will reap these benefits on a much larger scale than ever before.