JONATHAN BREE – AFTER THE CURTAINS CLOSE is at Top 200 Radio Now!!!

After a couple quiet months, I finally have an add this week!! Don’t miss it – the new full-length album by Jonathan Bree (who you’ll remember from the singles I worked both earlier this spring and late last fall) is finally here and it rips!! This one feels like a long time coming, both because it’s my first new add since March (pandemic scrambled a bunch of release dates around of course, including this one which was originally scheduled to come out in April) and because I’ve basically been working on it since last November when I started pushing that first single. Wow. We made it, y’all. We’re here. Jonathan Bree’s new album is out and all is right with the world. In case you’re new to this pal: if you have any knowledge of New Zealand pop music, you might recognize him as former bandleader of cute twee popsters The Brunettes, or label head of influential NZ label Lil Chief Records. He also has been known to play in the band of Princess Chelsea. I would say his present-day music is best described as Magnetic Fields meets Casket Girls. My personal history with this guy goes way back and is quite special to me, which you can read a bit more about on my post about the first single I worked if ya like. His current stage show is really something to see too: it involves solid white spandex masks and pioneer-woman-styled backup dancers with complex choreography. Someday bands will be allowed to tour outside of NZ again and we’ll see it. His music is spooky, creepy, and also romantic and sweet and sometimes even hooky bangers.

He’s also got a slew of killer videos, including one for his newest single “Heavenly Vision” which features a very good dog named Panda. There’s also a great video for the song “Kiss My Lips” (the single I was working in the spring, featuring Princess Chelsea in an American Bandstand-type scenario, that was shot around the same time of Jonathan Bree’s viral hit video for “You’re So Cool“.

My pal Jake Uitti recently published a rad interview with Jonathan in American Songwriter, which you can check out right here: he calls Jonathan’s music “smooth and warm with a kiss of the bittersweet” and also compares him to David Bowie in Labyrinth!! :o Also check out this sick Bandcamp Daily feature on him that went up at the end of July; also DJ Troy Nelson shouted me out on KEXP while giving a really clear description of what’s special about Jonathan’s music and live show – I loved that so much I recorded it jankily on my phone’s voice memo app (so turn up yr volume probably), so you can listen real quick (maybe for some inspo on how to describe this jam?!) right here.

JONATHAN BREE

AFTER THE CURTAINS CLOSE

Lil Chief

Jonathan Bree is a musician from New Zealand, known for melodic compositions where he croons about modern life and love, over string parts that slide precariously between notes and dulcitone chimes. The end result is a musical palette one could describe as dark Disney.
 
His live shows have also gained him a cult following as he tours extensively across the world. Masked band members in pioneering clothing are set against a backdrop of cinematic projections created specifically for each song. Unusual for an indie act, he also has two dancers who perform other-worldly choreographed routines along with the music.
 
After his “You’re So Cool” video went viral in 2017 (currently sitting at nearly 18 million views on Youtube), many likely assumed Jonathan Bree was a new artist. He began writing his own songs at age 9 and performed live as a drummer in his cousin’s band until age 13. This was interrupted after being sent to live in Australia with his father, who was an aspiring cult leader. Bree subsequently left home and independently navigated his teenage years.
 
When Bree returned to New Zealand, he formed The Brunettes, who in their active years toured the world and released music through Sub Pop Records and Bree’s own label, Lil Chief Records. The frustrations of trying to take this traditional route to success saw him take a long break from releasing his own music. In the interim, he happened to produce the song “The Cigarette Duet” for Princess Chelsea (in 2011) and directed its video which has since surpassed 47 million views.
 
He began releasing music as a solo artist in 2013. After The Curtains Close will be Jonathan Bree’s fourth full-length solo effort, out via Lil’ Chief Records on July 17th, 2020. ​

What could be described as Bree’s “sleazy” album could also be described as his break-up album. Dealing with the break-down of a major relationship, Bree opens up to reveal a year of loneliness and mental trauma—while also channelling positive feelings by embracing sex and sleaze in his music, subject material more traditionally reserved for the single man. Bree strikes a balance between darkness and silliness here without appearing snide.
 
The album sees the producer’s trademark orchestral pop take a few unexpected turns, both into the experimental and also into kitschy territory populated by some of his French heroes of the 1960s. The end result is an album that retains Bree’s musical DNA while being fun and varied. It also features guest vocalists for the first time, including longtime collaborator Princess Chelsea as well as Britta Phillips (of Dean & Britta and Luna).


RIYL: Princess Chelsea, The Brunettes, Britta Phillips/Luna, Ruby Suns, Lawrence Arabia, Anthonie Tonnon, Lee Hazlewood, Serge Gainsbourg, Scott Walker, The Magnetic Fields, Casket Girls

Start With: 3, 4, 6, 8

FCC CLEAN

Contact me for a download link if you’re a radio rep!

https://www.jonathanbreemusic.com/

https://www.instagram.com/jonathanbree666/

https://www.facebook.com/jonathanbree666

http://www.lilchiefrecords.com/

https://open.spotify.com/album/7mxGl0T5uIfyOpK27dF0de

DOWN TIME – HURTS BEING ALIVE is at Top 200 Radio Now!!!

My newest priority for radio is a fun bedroom indie rock band from Denver. I actually was introduced to Down Time through a film festival coworker friend, which is a fun and unusual way to make new music friends! They have strong ties to fellow Denver band Tennis – they recorded this album in Patrick Riley and Alaina Moore (of Tennis)’s home studio, and also Riley and Moore are releasing it via their label Mutually Detrimental. So I mean for sure RIYL Tennis for this band! But I’d also put them somewhere in a nexus between Palehound and Best Coast with more psych-y vibes splashed on top, if you can picture that? Or well ya know, you don’t have to picture it, just give a listen to this lovely album! Also just to make sure you see, the band’s name is Down Time, two words with a space in between. Now you know!

DOWN TIME

HURTS BEING ALIVE

Mutually Detrimental

“See you on the other side,” Alyssa Maunders sings on “Other Side,” the opening track to Hurts Being Alive by Denver bedroom indie rock trio Down Time. Her voice carries over a lasting, sustained chord, just before the spacious track dives into its second side, where she’s joined, like old friends, by bass, drums, and a bending, hopeful guitar line. There’s comfort in those words. It’s a promise, and Maunders’ trusting vocals ensure that it’ll be okay. Just take this journey with her.

And that journey is like exploring the warmth of a childhood memory—something nostalgic but unique to specifically one time and place. Take “Not a Complicated Person” for example, where Maunders sings about the oft-overlooked simple pleasures of a home cooked meal—creating something from nothing. Giving back. And that’s what Down Time’s music is. It’s an act of kindness. David Weaver’s bass and drums are careful, precise, enriching. Justin Camilli’s melodies are fulfilling, friendly, unassuming. Maunders’s vocals are compassionate, understanding, introspective. It’s the sound of creative freedom—a clarity of artistic vision, of collaborative trust, and truth. 

Listening to Down Time is like dropping in on a friend—someone who’s there to listen or challenge or provide a new perspective. Down Time brings excitement to familiarity. It’s a conversation between three friends that invites the listener to be part of the family.

Produced by Patrick Riley and Alaina Moore of the band Tennis out of their Denver home studio, Hurts Being Alive is out via Riley and Moore’s label, Mutually Detrimental, on March 6th, 2020.


RIYL: Tennis, Bad Bad Hats, Frankie Cosmos, Big Thief, Drugdealer, Sam Evian, Belle & Sebastian, Soccer Mommy, Palehound, Reptaliens, Snail Mail

Start With: 3, 4, 6

FCC: 1, 5, 7

Contact me for a download link if you’re a radio rep!

https://www.facebook.com/DownTimeForever/

https://downtime.bandcamp.com

https://www.downtimeforever.com

https://www.instagram.com/downtimeforever/

MOUNT SHARP – THAT SHADOW is at Top 200 Radio Now!!!

I’ve been pals with one member of this sweet-with-bite rock band from Brooklyn for coming up on a decade now: Bryan and I used to work together at a venue in Brooklyn a lifetime ago, one time sharing an only mildly disastrous hotel room situation with a band he was managing at SXSW, and then also since then he’s stayed in my professional orbit by working with the extremely cool NYC station/website BreakThru Radio. Actually Mount Sharp isn’t even the first Band Mom band that has included a coworker from that same origin-story venue! It’s so nice when old pals pop up in new contexts. That’s what a lot of working in the music industry for any significant length of time turns into. Anyway I’m getting away from the point here. I love Mount Sharp so much and what I was really trying to say was that I’ve been dying to work with them for so long. BrooklynVegan calls them “warm and fuzzy indie rock that’s not afraid to let it rip either” which I think is an apt description.

I’m sorry that this one is download-only, but CD copies of this album do not exist at all. ALSO, an important FYI for you radioheads is that my original download link includes 192 kpbs mp3s, but there is also a link full of wav files for ya if you prefer. Just ask (if you work at a radio station). Also: it’s got a couple FCC-unfriendly tracks BUT those download links also include CLEAN EDITS already wrapped up in ’em (unless you can’t play the word “Goddamn”, in which case track 5 is still not clean. But it definitely removes the F-word it had in it)!

One more FYI is that lead singer Sarah Wood (commonly known as “Swood”) uses they/them pronouns. So this is music with a non-binary vocalist, not a female or femme vocalist. The More You Know! Ok I think that’s about all I have to tell you, now just dive in yourself, and (assuming you’re at a station) make sure to download and spin/chart this glorious thing today!!

MOUNT SHARP

THAT SHADOW

Dadstache Records

Mount Sharp began on a rooftop in Brooklyn, or on a boat in Maine, or perhaps somewhere in between. Either way, the band grew around the bittersweet, poetic songwriting of Swood (Sarah Wood, they/them pronouns) paired with Bryan Bruchman (he/him)’s noisy, chaotic tendencies around 2012. On 2014’s Weird Fears EP (with the rhythm section of Ryan Zumsen and Maia Macdonald), the band exhibited a blast of unbridled energy, excitement, and confusion –  a fitting soundtrack to a brief blissful, carefree time before so much changed. The band – now with Sal Garro and Jonathan Pilkington Kahnt (both he/him) firmly holding down the drums and bass – has matured, and the songs are maybe a little more serious, maybe a little more reflective, but no less cutting and catchy. Taking inspiration from the cosmos, sci-fi tv, and the messed up state of the world, Mount Sharp puts all the feels into song.

That Shadow follows you – full of sticky melodies, lyrics that cut, and surging waves of noise, this record will get under your skin. Inspired by years of watching all the assholes we know win, figuring out how to be kinder to ourselves, and all the beautiful and tragic machines in space. It’s about everything that pulls us to look behind ourselves, when we should be looking up and dreaming. 

Grounded by vivid, striking (and often deeply nerdy, see: odes to Carl Sagan in “Voyagers I & II”) storytelling & lyrics, the album radiates with anxiety, longing, and battered hope. 

All tracks were produced by Brian Sendrowitz (of Beat Radio) at Miracle Flag in Bellmore, NY, mastered by Sarah Register (of Talk Normal, credits include Protomartyr, Caroline Rose, Chastity Belt, Big Thief, Lower Dens, and Big Ups); cover art illustration is by Jenna Breiter.

“Warm and fuzzy indie rock that’s not afraid to let it rip either” – Brooklyn Vegan


RIYL: Diet Cig, Rainer Maria, Hop Along, Speedy Ortiz, Yo La Tengo, Land of Talk

Start With: 3, 4, 10

FCC: 5, 7 (CLEAN EDITS INCLUDED IN DOWNLOAD: 5’s clean edit says “G*ddamn” but removes “f**k”)

Contact me for a download link if you’re a radio rep!

http://hellomountsharp.com/

https://www.facebook.com/MountSharp/

http://twitter.com/HelloMountSharp

https://mountsharp.bandcamp.com/

https://hellomountsharp.tumblr.com

https://www.instagram.com/mountsharp

https://www.youtube.com/channel/UCjO2ghd1yphGgxISmG-kkKQ

JONATHAN BREE ft. PRINCESS CHELSEA – “KISS MY LIPS” single is at Top 200 Radio Now!!

It’s time for a new Jonathan Bree single!! Yes!! If you need a reminder since last fall regarding who this guy is: if you have any knowledge of New Zealand pop music (a subject in which I’m proud to have a small amount of professional expertise), you might recognize him as former bandleader of cute twee popsters The Brunettes, or label head of influential NZ label Lil Chief Records. He also has been known to play in the band of Princess Chelsea. I would say his present-day music is best described as Magnetic Fields meets Casket Girls. My personal history with this guy goes way back and is quite special to me, which you can read a bit more about on my post about the last single if ya like. His current stage show is really something to see too: it involves solid white spandex masks and pioneer-woman-styled backup dancers with complex choreography. He’s still on that tip with this newest track, just also with a lady vocalist. It’s spooky, creepy, and also romantic and sweet. You have to check it out, it’s really something special. I love it so much.

To decode that title, which is formatted in NACC’s preferred style: it’s just one song this time (you may remember that my last Jonathan Bree single was two tracks), and this one has a guest vocalist: Bree’s longtime collaborator, fellow kiwi Princess Chelsea. I have a bit of a history with that act as well: Princess Chelsea played my very first ever “Band Mom Presents” live show in 2011, which even had the poster designed by a pal who was a music director at the time! Anyway, there’s also a great video for this new song, featuring Princess Chelsea in an American Bandstand-type scenario, that was shot around the same time of Jonathan Bree’s viral hit video for “You’re So Cool“. You’re gonna want to get on this ASAP. Make sure to grab the download (hit me up if you’re a radio station rep who didn’t get the email) so you can add it for your station; no hard copies exist of this one; it is download only. There are both mp3 and wav files included in my download link, so you get to make up your own mind about what works best for you. And just FYI, while there is a full album slated to come out in April which this track is planned to be a part of, this isn’t a brief tease: this is a full-on single campaign, not a trick to segue into the album campaign, I am fully working here to get you to focus on playing the crap out of this one song! Please check it out!!

JONATHAN BREE

“KISS MY LIPS” feat. Princess Chelsea

Lil Chief Records

“Kiss my Lips” is the third single from Jonathan Bree’s forthcoming album, After The Curtains Close.

This is the first time Bree has featured a guest vocalist: long-time collaborator Princess Chelsea on lead vocals.

“Kiss My Lips” is a ‘60s-style pop song that’s darker around the edges than it seems. Its music video was shot during the famed “You’re So Cool” shoot (for his breakthrough viral hit, which currently has over 15 million views on YouTube) and has been hidden away in a time capsule since 2017.

Jonathan Bree is a musician from New Zealand, known for melodic compositions where he croons about modern life and love, over string parts that slide precariously between notes and dulcitone chimes. The end result is a musical palette one could describe as dark Disney.

His live shows have also gained him a cult following as he tours extensively across the world. Masked band members in pioneering clothing are set against a backdrop of cinematic projections created specifically for each song. Unusual for an indie act, he also has two dancers who perform other-worldly choreographed routines along with the music.

After “You’re So Cool” went viral, many likely assumed Jonathan Bree was a new artist. He began writing his own songs at age 9 and performed live as a drummer in his cousin’s band until age 13. This was interrupted after being sent to live in Australia with his father, who was an aspiring cult leader. Bree subsequently left home and independently navigated his teenage years.

When Bree returned to New Zealand, he formed The Brunettes, who in their active years toured the world and released music through Sub Pop Records and Bree’s own label, Lil Chief Records. The frustrations of trying to take this traditional route to success saw him take a long break from releasing his own music. In the interim, he happened to produce the song “The Cigarette Duet” for Princess Chelsea (in 2011) and directed its video which has since surpassed 47 million views.

He began releasing music as a solo artist in 2013. After The Curtains Close will be Jonathan Bree’s fourth full-length solo effort, due out via Lil’ Chief Records later this year.

RIYL: Princess Chelsea, The Brunettes, Ruby Suns, Lawrence Arabia,
Anthonie Tonnon, Lee Hazlewood, Serge Gainsbourg, Scott Walker,
The Magnetic Fields, Casket Girls

Start With: 1 (it’s only one track)                

FCC CLEAN

Contact me for a download link if you’re a radio rep!

https://www.instagram.com/jonathanbree666/

https://www.facebook.com/jonathanbree666

http://www.lilchiefrecords.com/

Two new tracks by JONATHAN BREE are at Top 200 Radio Now!!!

If you have any knowledge of New Zealand pop music (a subject in which I’m proud to have a small amount of professional expertise), you might recognize Jonathan Bree as former bandleader of cute ’00s twee popsters The Brunettes, or label head of influential NZ label Lil Chief Records. He also has been known to play with Princess Chelsea. My history with this guy goes way back and spans many of these United States: I first saw the Brunettes play in North Carolina when they were on tour with the Shins back in the dark ages of 2005, and then we actually became friends a few years later when I lived in New York and they happened to be passing through there. Princess Chelsea needed some help booking a NY show and getting a US working visa and I was thrilled to be able to help out with that: that became my very first ever “Band Mom Presents” live show in 2011, which even had the poster designed by a pal who was a music director at the time! Anyway fast fwd a bit and Jonathan is 3+ albums deep on a solo career; I last caught him in Austin at SXSW this year, which is when I first encountered his most recent stage show: it involves solid white spandex masks and pioneer-woman-styled backup dancers with complex choreography. He’s still on that tip with these two newest tracks. I would say his present-day music is best described as Magnetic Fields meets Casket Girls. You have to check it out, it’s really amazing.

To decode the title here, which is formatted in NACC’s preferred style: it’s two songs packaged together as a single; the lead, because it’s the newer release, is “Cover Your Eyes”, and the B-side is “Waiting on the Moment”, which has technically been released since September but I bet you haven’t been playing it since nobody was working it to radio (until now). In my opinion “Waiting on the Moment” is clearly the more radio-friendly, pop-oriented track, but “Cover Your Eyes” is newer and it’s also not radio UNfriendly, so you make your own decision here. It’s only two tracks. You can listen to them both, and you can play either or both, in any order. They even both have pretty striking videos, if you’d rather first check ’em out that way: here’s the video for “Cover Your Eyes”, and here’s “Waiting on the Moment”. Then make sure to grab the download so you can add it for your station; no hard copies exist of this one, it is download only. And this really is a standalone (double) single; there will be a full album eventually, like SOMEday, but its release won’t be happening until this upcoming April at the earliest, it’s not even finished being recorded yet, and no promises that these particular tracks will be on it, so this is not a lead-in to an album campaign but rather just a full-on single campaign, not like a trick or a tease, this is the full event. Don’t miss it!!

JONATHAN BREE

“COVER YOUR EYES” b/w “WAITING ON THE MOMENT”

Lil Chief Records

Jonathan Bree is a musician from New Zealand, known for melodic compositions where he croons about modern life and love, over string parts that slide precariously between notes and dulcitone chimes. The end result is a musical palette one could describe as dark Disney. These elements are present in his breakthrough viral hit, “You’re So Cool,” which currently has over 12 million views on YouTube.

His live shows have also gained him a cult following across the world. Masked band members in pioneering clothing are set against a backdrop of cinematic projections created specifically for each song. Unusual for an indie act, he also has two dancers who perform other-worldly choreographed routines along with the music. These performances have seen Jonathan Bree tour extensively across the globe.

After “You’re So Cool” went viral, many likely assumed Jonathan Bree was a new artist. He began writing his own songs at age 9 and performed live as a drummer in his cousin’s band until age 13. This was interrupted after being sent to live in Australia with his father, who was an aspiring cult leader. Bree subsequently left home and independently navigated his teenage years.

When Bree returned to New Zealand, he formed The Brunettes, who in their active years toured the world and released music through Sub Pop Records and Bree’s own label, Lil Chief Records. The frustrations of trying to take this traditional route to success saw him take a long break from releasing his own music. In the interim, he happened to produce the song “The Cigarette Duet” for Princess Chelsea (in 2011) and directed its video which has since surpassed 47 million views.

When he finally returned to releasing his own music it was as a solo artist with the album The Primrose Path (2013). His only promotion for it was uploading to YouTube an album length video of himself watching shows on his laptop in bed accompanied by his girlfriend and cat.

Bree’s second album A Little Night Music (2015) saw him embrace a more cinematic approach, while retaining strong melodies and hooks. Nonetheless, it is his least pop-focused album to date and leans more heavily on classical soundscapes – Nick Cave meets the Nutcracker Suite. It was during this album campaign that Bree first introduced the concept of his period piece masked band. The debut single/video “Weird Hardcore” (2014) featured his musicians appearing as if within a skewed timeline, think Amadeus meets The Old Grey Whistle Test. It’s rumoured that around this time Jonathan acquired a time machine…

In the lead-up to his third album, Sleepwalking, he released his viral single and music video for “You’re So Cool”, which was named Time Out New York’s Video of the Year. Sleepwalking (2018) has a heavy orchestrated element featuring real strings, horns, celeste and soprano vocals. His arrangements draw distinct influence from orchestral pop of a bygone era (think Lee Hazlewood & Nancy Sinatra), but many of the songs dip in and out of the avant-garde in a way that is also distinctly modern.

In 2019, Bree released “Waiting on the Moment” – the first single from his forthcoming album due for release in April 2020. The track is a break-up song you can dance to. It expresses the pain of revisiting places where a love you once knew had significance. In this case a karaoke bar. Rather than presented within a tearjerker ballad, the music gives another angle: one of celebration. There is an optimism in moving on, confronting and acting on your sense of loss. Many of Bree’s signature sounds are present – bendy strings, clicky bass, dulcitone and arpeggiated synth, but it’s perhaps his most pop focused track to date.

Bree’s next single, “Cover Your Eyes”,’ is about the escapism of gaming. Set in a hypothetical authoritarian society where the rules of social engagement and expression are so monitored and repressive that the only sense of freedom is to be found within a game. “Cover Your Eyes” releases on November 15th, 2019.

RIYL: Princess Chelsea, The Brunettes, Ruby Suns, Lawrence Arabia,
Anthonie Tonnon, Lee Hazlewood, Serge Gainsbourg, Scott Walker,
The Magnetic Fields, Casket Girls

Start With: 1, 2 (it’s only two tracks and their order doesn’t matter)                

FCC CLEAN

Contact me for a download link if you’re a radio rep!

https://www.instagram.com/jonathanbree666/

https://www.facebook.com/jonathanbree666

http://www.lilchiefrecords.com/

NEGATIVLAND – TRUE FALSE is at Top 200 and Electronic Radio Now!!!

If you’ve been around a bit, you know this band. Negativland have been around since the 80s! They are known as pioneers of the art of sound collage, specifically a version of mashups they call “culture jamming“!!! Their work is taught in college classes!! They have a Wikipedia page!! (Strongly suggest a deep dive into that page if you’ve got time and this is a new subject to you; there is some WILD stuff in there…like the time they got sued by U2, or the time where they successfully spread a hoax regarding a mass murderer.) They are truly some OG anti-establishment radical punks. And this release has already gotten press from BrooklynVegan and Popmatters and The Wire!! How did I wind up working an album that’s admittedly fairly unlike my usual, you may ask? Well I helped out with a campaign for an album of theirs when I worked at a different company a hair over a decade ago, and they remembered me and called me up, that’s how!! Lucky me!!! Anyway this album is this weird conglomeration of mashed up spoken word, chopped-and-screwed music, and some original instrumentation/vox, so as you can imagine it’s a bit of a genre bender. It is shooting for your Top 30s (the general charts that get compiled into the Top 200), and it is also shooting for your Electronic charts, where it hopes to find a home among some of your more experimental/open-minded but still dance-oriented DJs. Quite a few of you (college/non-comm radio stations) did get hard copies, so look around if you haven’t spotted it yet, or you can ask me for a download link!

NEGATIVLAND

TRUE FALSE

Seeland

Since 1980, the 4 or 5 or 6 (or more) Floptops known as Negativland, a multimedia collective originally from the San Francisco Bay Area, have been creating records, CDs, video, fine art, books, radio and live performance using appropriated sounds, images, objects, and text. Mixing original materials and original music with things taken from corporately owned mass culture and the world around them, Negativland surreally re-arrange these found bits and pieces to make them say and suggest things that they never intended to. In doing this kind of cultural archaeology and “culture jamming” (a term they coined way back in 1984), Negativland have been sued twice for copyright infringement.

Over the years Negativland’s “illegal” collage and appropriation-based audio and visual works have touched on many things – pranks, media hoaxes, advertising, media literacy, religion, death, the evolving art of collage, the bizarre banality of suburban existence, creative activism in our media-saturated and multi-national world, file sharing, intellectual property issues, wacky surrealism, evolving notions of art and ownership and law in a digital age, and artistic and humorous observations of mass media and mass culture.

And what is True FalseTrue False is their 13th studio album and Negativland’s 2019 return to all original music that you could mistake for actual songs, albeit ones being sung by dozens of sampled vocalists who have never met. The first of two interconnected double albums, “True False” tackles concerns that will be familiar to any surviving fans of the band:  our nervous systems, our realities, and the evolving forms of media that inevitably insert themselves between us. Shootings, bees, the right’s rules for radicals, climate control, dogs pretending to be children, the oil we eat, capitalism, and the right of every American to believe whatever they want to believe ….all are explored.  It’s the first Negativland album to come with a lyric sheet, and is a reminder that we need more than just one memory before we can safely tell anyone else that this is not normal. Juxtaposing Occupy mic checks with US militia rallies, FOX news hosts and ecoterrorists, and your own sanity with the home viewing habits of Negativland’s lead vocalist, the Weatherman, as we witness the entrenched political beliefs of left and right cleanly switching sides in under one generation, when you put the word ‘True’ next to the word ‘False’, a broader reality reveals itself.

And, finally, just who’s even in Negativland these days? Didn’t half of them die a few years ago?  For True False, Negativland consists of Mark Hosler, David Wills, Peter Conheim, and Jon Leidecker, as well as the dearly departed Don Joyce, Richard Lyons and Ian Allen. Containing tapes from the earliest years of the band (including dozens of samples that will be very familiar to regular listeners of their KPFA radio program Over The Edge), work on True False began in earnest in 2012, folding the decades on top of each other until they finally resembled all the of feelings that tomorrow has for today.

“Declared heroic by their peers for refashioning culture into what the group considers to be more honest statements, Negativland suggests that refusing to be original, in the traditional sense, is the only way to make art that has any depth within commodity capitalism”- NEW YORK TIMES

“Collage pioneers…..genre-defying, densely layered, strangely accessible” – WASHINGTON POST

“Negativland were definitely not what the EDM kids at Bumbershoot were expecting. The experimental San Francisco sound collagists don’t make music as much as sonic mayhem: audio think pieces that are subversive and enlightening, vexing and revelatory.  Negativland are political to the core.” – SEATTLE WEEKLY

RIYL: Girl Talk, People Like Us, Matmos, Yes Men, The Residents, Plunderphonics, Mouse On Mars, Faust, and culture jamming / sound collage

Start With: 3, 4, 10                  

FCC: *6*; also  2, 4, & 11 say “Goddamn” (only)

Contact me for a download link if you’re a radio rep!

https://www.negativlandtruefalse.com/about

https://www.facebook.com/Negativlandland/

https://www.instagram.com/negativlandland/

GÜERO BROWN – GÜERO BROWN is at Top 200 Radio Now!!

Güero Brown is a classic-rock-leaning singer-songwriter (think Van Morrison or Jackson Browne for classic influences or Ty Segall for a contemporary) based in Seattle who I met through some mutual friends last fall. His name is in reference to the fact that he spent a lot of time (and wrote a lot of these songs) traveling/living in Latin America. A cool record which I was able to send a pretty good number of hard copies out to stations of – make sure to check it out! (A note: he spells his name with those umlauts, because that is how that word is spelled – GÜERO BROWN – and would appreciate you spelling it that way on playlists and public-facing stuff as often as possible, but NACC does not recognize special characters like that, so just use the regular non-accented letters for NACC charts: GUERO BROWN.)

GÜERO BROWN

GÜERO BROWN

Self-Released

A Michigan native now based in Seattle, Güero Brown is an independent musician and graduate of Western Michigan University, where he studied foreign languages and audio engineering. Travel and literature have played a significant role in Güero’s artistic development and musical taste, including a particularly enduring love for Jack Kerouac’s On the Road. After a period of years based in West Michigan, Güero took time away from music in 2014 to live in Latin America and find new inspirations. In early 2017, Güero returned to the studio to record new music that was later eventually released as this self-titled album. Many of the songs on Güero Brown were written in the Southern Hemisphere and feature contributions from various talented collaborators in different parts of the United States.

Anyone who’s ever had to deal with cancer, directly or indirectly, may find some solace in “Sunny Days.” That track was written after Güero dealt with cancer-releated deaths of two people in his life in quick succession. It also features contributions from Joe Ayoub (touring bassist for Shakira and Enrique Iglesias and current house bassist on American Idol) and Brett Farkas (who has toured and recorded with the likes of Aimee Mann, Lord Huron, Solomon Burke, Rihanna, and Princess with actress Maya Rudolph).

RIYL: Tom Petty, Neil Young, Jackson Browne, Elvis Costello, Ty Segall, Lou Reed, Van Morrison, Teenage Fanclub, Shout Out Louds, Bruce Springsteen

Start With: 2, 4, 1, 8                  

FCC: 2 says “bollocks to the Man”, 6 says “son of a bitch”, otherwise CLEAN

Contact me for a download link if you’re a radio rep!

www.guerobrown.com
guerobrown.bandcamp.com
https://www.facebook.com/LeGueroBrown/
https://www.instagram.com/le_guero_brown/

THE BAND MOM is TEN!!!

CAN YOU BELIEVE IT: today is The Band Mom’s TEN YEAR ANNIVERSARY!!

I’ll never forget to be grateful to Chuck Meyer and Dana Young for pushing me into really going for it in a pivotal moment – their Hidden People “Hormones” EP was my very first add, beginning its campaign for the CMJ charts ten years ago now to the day. (RIP [kinda] CMJ. And this band’s main website was a MYSPACE! Told you it was ten years ago.)

To bookend this decade with possibly even too fine a point to feel real, I got this email from a beloved client literally yesterday. Feels great to have that kinda thing to show for myself! That’s what it’s all about, maaaaan.

My life would be totally different without The Band Mom and college radio in general. Besides it accounting for a majority (if sometimes by a slim margin) of my income & work time over this past decade, it’s a deeply embedded and inextricable part of my social life as well. Over the first 5 years of this company’s life in Brooklyn then these most recent 5 in Seattle, I’ve had 3 different roommates who were former music directors, and 3 others that I met as a direct result of this work. My accountant is a former MD. My computer just broke down this week and a former MD sent me her old one as a replacement! A huge majority of my closest friends have been radio folks (music directors, artists who’ve been clients, competitors/colleagues, and people I’ve met second- or third-degree through all the above). They’ve helped me move; I’ve been to their weddings and birthday parties and met their kids and pets. I’ve been lucky enough to do a fair amount of traveling throughout North America over this decade, and gotten to visit with radio friends in Austin, Chicago, Cleveland, Dallas, San Antonio, Nashville, Montreal, Portland, Detroit, Philadelphia, Raleigh, Los Angeles, Harrisonburg VA, Lincoln NE, Boulder CO, Lexington KY, Seattle and NYC (before and after those were my homes) and probably a bunch of other places I’m not even thinking of. Where would I be without the people I know because of The Band Mom?! I can’t even guess. Surviving financially hasn’t always been easy (could you guess that freelance work in college radio promotion isn’t the most lucrative profession? I’m also eternally grateful to all my employers at my various side gigs over the years which have helped me stay afloat! And actually most of those other gigs can be traced back to an original introduction via someone I knew through college radio, as well. And I’ve been thrilled to help many radio friends get jobs and gigs too!) – but I’m so much richer for it. It’s an essential part, maybe the biggest part, of who I am.

Although “The Band Mom” as an official entity has always been only me, it would be an obscene lie to claim I did this decade by myself. Thank you so much to all the bands who’ve trusted me with their precious creative work and their hard-earned cash, the stations who’ve played my releases and spent time chatting with me on the phone or via emails, the venues who’ve let me host Band Mom Presents live shows, the professional organizations who’ve put me on panels/interviewed me/nominated me for awards, the friends who’ve helped me stuff thousands of CDs and onesheets into envelopes on countless late nights, Tyrel (of Band Mom band the Terrordactyls) who helped me design this website and made my logo, and anyone else who’s lent a helping hand or a listening ear along the way. I also want to say thank you here to my parents, who raised me to believe I was powerful and deserved to follow my dreams, and empowered me to take risks and pursue career satisfaction over more traditional forms of work/life security, even when they might not have understood exactly what I was doing or why it felt important to me to do it, and have always been there to celebrate my achievements with me along the way. You folks are all why I can continue to do what I love for a living, and I am never not grateful.

I might as well mention: if you’ve got new music coming out in the next few months and you’re thinking of sending it out to radio, I’d love to talk! Drop me a line at jenn (at) thebandmom.com . Word on the street is I’m pretty good!

EXDREAMS – PHYSICAL CONTACT is at Top 200 Radio Now!!

The day Shenandoah Davis introduces me to a new artist is ALWAYS a great day, and that rule did not fail when she connected me with Grace Hope of Tacoma, WA’s EXDREAMS! (Band name actually typed in all lower-case—exdreams–if you see me talking about it in sentences later on.) This excellent record is going for both Top 200 and Electronic spins, a rarity for me to be promoting to two panels at once! (I hadn’t done much Electronic promotion since that genre was called “RPM” during my LIFT days, but I’m excited to get back to it!!) ANYWAY, this record is amazing!! It’s lady-driven electro-pop in the vein of Jenn Champion or The Blow or Robyn, with songs about heartbreak and self-love and smashing the patriarchy. It’s front-to-back pure gold. And one song had swears on it but I convinced Grace to do a clean edit, which is what you’re getting on both the disc AND the download, so I’m 100% positive you have no FCC worries here! Now get on it, because this record is FLY AS HELL!!

EXDREAMS

PHYSICAL CONTACT

Self-Released

Grace Hope, co-founder of the successful and beloved Tacoma, WA band, Goldfinch, has launched a new music project called exdreams.  Her debut album physical contact was produced by DuWayne “DJ” Phinisey, a prolific hip-hop and pop producer from Tacoma now residing and working in Los Angeles.  With big, dancey hooks and rich synth layers, exdreams marks a dramatic shift in style and energy from the folk-rock sound of Goldfinch and the quiet piano music of Apartment Lights, Hope’s previous solo project.  The video for the album’s first single, “it’s not sex”, had its world premiere at the Tacoma Film Festival on October 7th, where Hope performed at Alma Mater as part of TRACK 03: Music Video Showcase.

Recorded over seven days in the spring of 2018 in both LA and Tacoma, the album is the product of a writing collaboration between Hope and her former Goldfinch bandmate, Aaron Stevens, along with Phinisey.  physical contact marks Hope’s return to music after diving deep into her pursuit of a degree in science while navigating the end of her long marriage. Jokingly referred to as divorce pop, physical contact explores Hope’s relationship with sex and masturbation, alcoholism, power, and dreams.  These songs are playful, honest, emotional, and sexy as fuck. They are also raw, complex, and emotionally mature: pop for grown ups.

The creative process for this album was an unusual departure from the extensive tinkering and workshopping that Hope and Stevens used in the past.  The exdreams songs were for the most part written and recorded simultaneously, with all of the creative energy of the moment captured.  Hope, Stevens, and Phinisey didn’t have much time to overthink or second-guess anything during the making of the record, and while the experience was an incredibly intense one, it also brought a sincerity and freshness to the songs.  

Here Hope is clearly liberated and reveling in her freedom as a single adult and her arrival into a sense of finally, fully, deeply belonging to herself. And Hope has a lot to celebrate. She had a rocky start with a childhood in a restrictive religious cult that brought her family from California to Washington State in the late ‘70s to form a commune in South Tacoma. Deeply isolated, abused, and depressed but obsessed with music, she credits the late-night radio shows she sneakily listened to on 107.7 The End for offering her hope that there was something better out there, and for giving her the courage to finally leave the cult at the age of sixteen.  She spent the rest of her teen years supporting herself financially, trying to learn about the outside world and assimilate into it, and expanding her musical obsessions. She dug deep into the catalogues of her favorite artists, started seeing as much live music as possible, and was always hungry to find more.

Hope married young and started a family, and for years oscillated between writing and performing her own music, and feeling wracked with too much self-doubt and insecurity to go on.  The long-term mental health effects of the cult were an obstacle she wrestled with over and over again, but at the age of 34 she decided to finally attend college, a move that had been prohibited for women in the cult.  Certain that she would fail, Hope was stunned to find that she was weirdly brilliant at math, chemistry, biology, and basically anything else she tried. Her bizarre upbringing and her years with music gave her a mind that readily snapped up patterns and made sense of them.  She began to overcome her fears that she was too different to be accepted, and stopped caring so much about whether or not she fit in anymore. She won local and national awards in the fields of biology and chemistry and went on to become the most decorated student in the history of her college.  In 2016 she finally got sober after years of using alcohol to cope with her childhood trauma. The achievements she was experiencing in school were translating into personal strength and helping to re-write the damaged narrative of her youth.

In the early spring of 2018, still a year away from graduating with her bachelor’s in Molecular & Cellular Biology from the University of Puget Sound and only a couple of months after the end of her fifteen-year marriage, Grace Hope found herself back in the studio.  The music of exdreams came pouring out.  As exdreams, Hope leans heavily on a lifetime of profound love for artists like Kate Bush, Portishead, and Anohni, but these new tracks showcase the power and clarity of her own unique voice with weird harmonies and stacks of vocals that manage to feel poppy while remaining original and unaffected.  

Independent at last, Hope is completely in touch with her own singing and narrative voice.  There’s nothing in the world like exdreams because it’s the music of a singular artist who knows herself deeply, has come to terms with her own weirdness, and is finally expressing it bravely.  This is an artist who understands that music not only saves lives, but makes them worth living at all.

RIYL: Jenn Champion, The Blow, Robyn, Inara George, Portishead, Beach House, My Brightest Diamond, Sia, HAIM, Perfume Genius, Annie Lennox, Kate Bush

Start With: 4, 2, 6                    

FCC CLEAN (track 4 is already a RADIO EDIT on disc & download)

Contact me for a download link if you’re a radio rep!

https://www.facebook.com/herexdreams

https://www.instagram.com/herexdreams

LIZA/LIZA – MOMENTARY GLANCE is at Top 200 Radio Now!!!

I’m so proud to get to bring to radio the exquisite Liza/Liza, via Orindal Records! (That’s the label run by my pal Owen Ashworth of Advance Base!) This is some really lovely, thoughtful, patient folk music, the kind that rewards careful listens and close attention—it’s full of beauty but also darkness, in a really rewarding way. As Stereogum says, Liza (that’s her first name, but it’s pronounced like “Lisa” – hence the band name) “has an uncanny knack for intense atmospherics”; they describe this album as “a collection of gently unfurling tracks centered around Victoria’s placid voice and an intoxicating static buzz”. It’s her sophomore release, but her first electric album with a full band, which was recorded by Godspeed! You Black Emperor’s Efrim Manuel Menuck (and featuring cover art by Kyle Field of Little Wings!). Technically only the first six tracks on the disc are this actual album; the final four tracks on the release sent to radio are from an older tape EP, a fun bonus for you!

LISA/LIZA

MOMENTARY GLANCE

Orindal Records

Lisa/Liza is the recording project of Liza (pronounced Lisa) Victoria, a singer, songwriter & guitarist from Portland, Maine’s D.I.Y. folk scene. Momentary Glance is her second album for Orindal Records, following 2016’s home-recorded solo acoustic collection, Deserts of Youth. Momentary Glance is Lisa/Liza’s first album of electric guitar recordings, half of which feature the recording debut of her live band (comprised of fellow Mainers Jonathan Downs, Devin Ivy & Pete Swegart). The album was recorded & mixed by Efrim Manuel Menuck (of Godspeed! You Black Emperor & Thee Silver Mt. Zion Memorial Orchestra) at his hotel2tango studio in Montreal, with the exception of the song “Tea Kettle,” which was recorded & mixed by Colby Nathan at New Fruit Collective in Portland, Maine. 

The six songs that make up Momentary Glance are expansive & trance-like, slowly unfurling over the course of forty-two minutes. The deep, natural reverb of hotel2tango & added atmospherics of Liza’s band mates create immersive environs for her patient guitar work & uniquely vulnerable vocals. Liza’s dreamlike lyrics often return to themes of winter, animals, nature as a source of reflection and the unwritten letter.

The CD edition of Momentary Glance includes four bonus tracks from a cassette EP called The Morning Light of When. Its cover art was painted by Kyle Field of the band Little Wings.

Liza recalls:

Momentary Glance was recorded in the very coldest part of winter. We were told by friends in Montreal that even with the heat all the way up the wind still got through enough cracks in the walls ,that jackets were needed inside their homes. We would walk to the coffee shop with full face gear to keep the wind from freezing our faces. Jonathan wore ski-goggles, and we traded mismatched gloves around (“you can wear them for now, I’ll wear them later”). I remember being concerned for my vocal cords getting too cold and keeping a scarf wrapped around my neck & warm beverages near. The album was recorded in just three days, much to the thanks of Efrim, who persevered in the sound room, kept our spirits light despite the chill. I was fully grieving while I recorded this album. My friends and band mates stayed by my side, they took the trash out of the Airb&b, they let me wake up at all hours of the night to cry, or to feel despair, and never suggested once that it was too much, always believing that we could create, that I could create, despite my state. And that’s what made this record. I am still in disbelief that it is here. 

“This album was made in the most difficult time of my life to date, if the album represents anything for me, it is finding strength in showing up for your fears, because many days that’s all we can do. During the fall of 2017, I experienced the loss of a friend due to suicide. I worked on this record in the hours that I had strength to be around people (all songs were previously written before this loss). When I first heard the final mixes, my first thought was that I wished this person could hear it, more than any other person. There is nothing I can say or make to express this heartbreak, but I knew I had to record this record then, just to keep myself playing music and moving forward, and I’m more than grateful for those who care to listen.”

RIYL: Mount Eerie, Nick Drake, Grouper, Cat Power, Jessica Pratt, Sam Amidon, Bonnie “Prince” Billy, Devendra Banhart, Little Wings

Start With: 3, 4, 5                    FCC: 1 (clean edit available via download)

Contact me for a download link if you’re a radio rep!

https://www.facebook.com/LisaLizaband/
https://twitter.com/GoldFishBloom
https://www.instagram.com/lisalizamusic/
https://lisalizas.bandcamp.com/
http://orindal.limitedrun.com/artists/lisaliza