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) . 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!!




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!

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!



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!

ZOE BOEKBINDER – SHADOW is at Top 200 Radio Now!!!

I first had the joy of working with Zoe Boekbinder (who uses they/them pronouns) on their album Darling Specimens in 2011, as well as on a tour they did with pal Mal Blum in 2012. Since then, they’ve had a lot of really interesting life stuff happen, like spending a bunch of time writing songs with inmates at New Folsom Prison, moving to New Orleans, and most recently, wrapping up a European tour. I’m so excited to bring you this record!! It’s Zoe’s most personal ever, and I’d argue that also in some ways makes it their most universal, like much of the most exquisitely specific art is.

(Last name pronunciation key: book-binder, like a person who binds books. But make sure to spell it BOEK not BOOK!)




In 2005, Zoe Boekbinder (who uses they/them pronouns) formed a band, with sister Kim Boekbinder, called Vermillion Lies. Over the five years that they played together, they released two albums.

In 2009 Zoe released a solo album, Artichoke Perfume, recorded with friend and producer Cesar Alvarez in Brooklyn, NY. Two years later came Darling Specimens, produced by Shenandoah Davis in Seattle, WA. In the fall of 2013, Zoe wrote, recorded, and publicly posted 100 songs in 100 days. The next album, Baby Bandit (January 2014), was recorded live onto two inch tape in Oakland, CA with cellist Danah Olivetree and violinist Dorota Szuta.

From May 2010 to December 2014, Zoe volunteered as a performer and teacher at New Folsom Prison and began working on an album of songs with songwriters, poets, and rappers who are incarcerated there. The profits from the album, which is produced by Ani DiFranco, will benefit prisoners’ rights groups.

It was at that point that Zoe took a break from touring, feeling unsure that it was what they should be doing. They didn’t make an album for four years. They barely played any shows. They’d been a full-time musician for their entire adult life, but after gaining the perspective of working in prison, Zoe started to doubt that the songs they wrote were important to the world. During this break they discovered a newfound bravery to write songs about larger issues. They wrote about feminism/violence against women, privilege, and prison abolition. They wrote about their best friend who committed suicide. The songs started to feel important. The resulting album, Shadow, is the least and most personal art they’ve ever made. It feels terrifyingly vulnerable.

Zoe resides in New Orleans, Louisiana. They’ve been known to collaborate over the years with friends including Ani DiFranco, Amanda Palmer, Jason Webley, Neil Gaiman, Mal Blum, and Mirah.

RIYL: Tuneyards, The Blow, Mal Blum, Ani DiFranco, Amanda Palmer, Dear Nora, Alela Diane, Mirah, Shenandoah Davis, Malvina Reynolds, Ane Brun

Start With: 2, 8, 4, 5                    FCC: 3 says “hard as hell”, otherwise CLEAN

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

THE CITY HALL – REAL NICE & HURTFUL is at Top 200 Radio Now!!!

I met the dudes of The City Hall through a coworker pal at one of my many venue jobs, actually while working a shift at another one of those many jobs, what a world! They’re a fun Seattle indie-pop band with just a tiny bit of bite to ‘em. Several of this album’s tracks initially had swears but these are clean edits as they get to you—even on the discs! Now you’ve got nothing to worry about unless “damn” and “ass” and “hell” are a problem for your station (in which case those are noted below) – but the “real” swears are all already edited out, I promise! Spin with confidence, that’s the Band Mom Promise™. (Not a real trademark, but a real promise.) Slacker pop at its finest, just for you!

The City Hall Front Cover




The City Hall is a Seattle band formed by Luke Hogfoss (The Palisades) and Casey Dunau (SoccerMom). With the help of an ever-growing list of friends and collaborators, they create music that is the sonic equivalent of throwing gushers, broken camcorders, and birthday tears into an Easy-Bake oven—in other words, sugary pop with a salty aftertaste.

Real Nice & Hurtful was recorded at Hall of Justice studios, the studio owned and operated by Chris Walla of Death Cab for Cutie (where Nirvana recorded Bleach) by Mike Davis, who was recently recognized by Pitchfork for his work with The City Hall’s pals in Special Explosion.

RIYL: (Sandy) Alex G, Vampire Weekend, Saintseneca, Miniature Tigers, Bishop Allen

Start With:  6, 7, 8, 10

FCC: 4 says “damn”, 7 says “ass”, & 13 says “hell”, otherwise CLEAN

(tracks on disc AND download are already RADIO EDITS)

The City Hall 1

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


The Band Mom at CBI 2018!

I was thrilled to be able to represent the Band Mom while attending and speaking at the CBI (College Broadcasters, Inc) conference in Seattle this past weekend!

I spoke on a panel called “How Your Station Can Get More From The Music Industry”:

cbi panel no header

With my pals Eva, Oscar, and David:


Had a lively conversation about using data to help with promoter/station relationships, met a few lovely station reps, and had a great time! Thanks CBI!

cbi bio no header



If you haven’t checked out the new 5-song EP by El Radio Fantastique (band name pronunciation key: “El Ray-dee-oh Fan-tas-teek”), these guys are about to be your new favorite classic-rock-influenced indie band from California. They especially remind me a lot of Pulp, in a real good way. They first reached my ears on the recommendation of Grammy-winning producer Jason Carmer, who also worked with my pals Kingsborough and Animal Hours. Give this bad boy a listen if you haven’t yet—I had quite a few hard copies to work with on this one, so it’s pretty likely you’ve got one waiting there for you if you’re at a college or non-commercial radio station (especially a NACC-reporting one)!





El Radio Fantastique is the band that would be playing at Salvadore Dali’s birthday party. They are the band that defies all labels and description, that floats effortlessly across genres while always conveying a sense of cinematic drama, reckless abandon, and broken beauty. Through lush arrangements, driving rhythms and pop hooks, the dynamic swell of emotion that emanates from this group is undeniably deep. If Anton LaVey, Frank Sinatra and David Bowie dropped acid in New Orleans and had an orgy with The Beatles, their unholy offspring would be El Radio Fantastique.

The band hails from Point Reyes Station, CA and is led by its founder, Giovanni Di Morente. Channeling disparate past experiences as a grave digger, dumpster diver, and pop star (of the 80s band Times Two), DiMorente fancies the broken and the crooked, and he celebrates them with sublime melody and passion. Di Morente and the other members of El Radio Fantastique have bonds that go back to childhood. This deep connection manifests itself in their sound and in the familiar spell they cast onstage. Co-produced by Grammy winner Jason CarmerOutside of Space and Time captures the band’s wild, beautiful, and ghostly essence.

**band name pronunciation key: “El Ray-dee-oh Fan-tas-teek”

RIYL: Pulp, The Beatles, David Bowie, T. Rex

Start With: 1, 2                    FCC CLEAN

El Radio Fantastique - Photo by Matt Gallagher

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

El Radio Fantastique image 3


Folky rocker Chet Vincent is out in the world via Misra Records (one of my favorite labels to work with: the bad bois who also brought you Melaena Cadiz and Anthonie Tonnon), and he is so great. Reminds me quite a bit of classic folky-rocker stuff like The Band or Neil Young, or I often catch glimpses of contemporary Langhorne Slim in there too. Super easy to love, and from recent experience I can tell ya this record works great as a jam on a long road trip. Too much rock for just your folk charts (in my opinion), and I didn’t have many hard copies of this one to work with so odds are higher than usual that this came your way as a download. Check your station’s email and grab it today!!

chet vincent SoloAlbumFront2FINAL2



Misra Records

Not every great songwriter is prolific, and certainly not every prolific songwriter is great—but those who qualify as both tend to face a common challenge: How do you sort and classify a body of work that might span moods, styles and genres? What goes together, and what goes where?

Chet Vincent—frontman of The Big Bend and longtime notable in the pool of singer-songwriters in his hometown of Pittsburgh—has been living something of a double life on account of just that problem. There’s Chet the rock singer, leading the increasingly loud and raucous Big Bend on an entropic path over the years. Then there’s what you might call Chet the folk singer, honing his craft in the quieter corners of town, palling around with singer-songwriters who might not even realize The Big Bend exists.

Vincent’s latest effort, Where the Earth Opens Wide, is a product of the latter Chet, though you might say it bridges the gap between the two. For the nine-track album, out now on Misra Records, Vincent dipped into both his catalog of solo tunes and an impressive crew of collaborators from across the city’s music community.

The songs themselves are simple, in a way: they were, after all, written for guitar and voice only. To avoid the trap of overly simple folk songs—the ones that all start to blend together halfway through an album—Vincent began to experiment as a writer, changing up tunings, for example, and exploring varied song structures.

He then took the songs, optimized for just one musician, and took them into the studio (Alex Herd’s Thunderbird House, in Pittsburgh) to flesh them out with a full band of ringers: Nathan Zoob of Wreck Loose, James Hart of the Harlan Twins, standup bass-around-town Trish Imbrogno, and a handful of other known quantities.

The album that results is at once familiar and original—familiar not because it sounds like Vincent’s other band, but because it draws from reference points like Neil Young, George Harrison and The Band. It’s sonically interesting, playing with echo and effects to create moods a solo artist can’t alone. At its heart, though, it’s still a roots-centered record, on a level bringing to mind what happened when John Cale hired the core of Little Feat to back him on Paris 1919: an album that stretches the boundaries of tradition, but refuses to abandon it.

RIYL: John Prine, Neil Young, George Harrison, Crosby Stills Nash & Young, Langhorne Slim, The Band, Bob Dylan

Start With: 2, 4, 8                   FCC CLEAN


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


You’re already loving the new EP by COACH PHILLIPS, right?? Chill male/female-vox indie pop with some garage/slacker-rock vibes, straight from my suddenly-now-sunny home of Seattle. Or another excellent way to describe it came from the wonderful Tori at WUOG: “such a great synthesis of tweemo and post-country”. YES. I also love how Kaili McDonald of WLOY described a favorite track: “’Lake MI (Dream),’ like the whole EP, is really really great.” TRUE. I actually was lucky enough to work as a house manager for a show they played recently (via one of my other jobs!), and see them play live for my first time. They covered Jay Som which led to my realization that Jay Som is totally a solid RIYL band for these guys. (I know it’s a white guy on the EP cover but just FYI while I’m comparing this band to Jay Som, and because recognizing & representing WOC musicians is important, I’ll note that there’s a v cool Asian-American woman who gets pretty equal time as bandleader/singer when ya see Coach Phillips live!) This EP keeps on climbing the NACC charts: we’ve spent 4 weeks on the Top 200 so far (after hitting #19 Most Added in Week 1), so far peaking at #142. YEAH!! This band came to me via the recommendation of 2015 Band Mom artist San Juan, and then I later found out that Coach Phillips’ drummer, Chet, also played in 2015 Band Mom band Pocket Panda! Seattle’s music scene isn’t quite THAT small of a world but on the other hand I guess sometimes it is. Anyway I’d locate this band’s sound somewhere between Melbourne’s Dick Diver and Seattle’s own Car Seat Headrest (with that added pinch of Jay Som to taste). Highly recommended! And it’s only a 5 track EP so it doesn’t take a lot for you to dig into it – what are you waiting for?!

Coach_Phillips_Album Cover




Coach Phillips is a Seattle-based indie pop/rock band currently comprised of Wade Phillips, Jessica Kim, and Chet Baughman. Founded in the summer of 2017, Coach Phillips was fused when Wade and Chet moved into Fremont’s historic Fitch/Nutt house, Jess moved into a house just down the street, and a series of house-shows followed shortly after.

With less than a year under their belt, the band’s maturity belies its youth. Prior to Coach Phillips’s formation, Wade spent years developing a solo set that culminated in the midst of a traumatic breakup (which found him sleeping on friends’ couches before eventually moving into a Seattle community center). Impressed with the raw emotion in Wade’s songwriting after watching a set that was accompanied by classmate Jess, Chet—a classically trained saxophonist—decided he wanted in on the project and quickly picked up the drums to round out the group.

The Learning How to Swim EP is the debut release from Coach Phillips, and was recorded at the Fitch/Nutt house with the help of former bassist and Chicago-based recording engineer Justice Reed; the EP is characterized by guitar-driven songs which feature a mix of witty, romantic, and melancholic lyrics that tackle life’s numerous growing pains.

“Now this is one low-slung piece of jangle pop…” – Kevin Hugger, MP3 Hugger
“An infectious sound oozing positivity” – Xune Mag

RIYL: Jay Som, Fountains of Wayne, Ratboys, Dick Diver,  The Obsessives, Waxahatchee, Weezer, Pavement, Cloud Nothings,  Pocket Panda, Car Seat Headrest

Start With: 1, 2, 3                   FCC CLEAN


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

GOOD FIELD – SURFACE TENSION is at Top 200 Radio Now!!!!

My dear old pals from Austin, GOOD FIELD, are really killin’ it lately! This is their third record, and the second one I’ve worked (I missed the one in the middle), so some of you may remember this awesome band from past campaigns (whoa that one went for adds almost exactly 6 years ago! Ok I know not many of you have radio memories that long) or how bout that show I once put on where David Byrne showed up in a room of about 100 people (true story) or this other show I put on a year later that also featured their pal Ramesh from Voxtrot?! Anyway it doesn’t matter if you haven’t been following along with all that deep Band Mom history: in my totally unbiased humble opinion, this is their best work yet! Fuzzy psychy groovy guitar pop at its finest. Think War on Drugs x Yo La Tengo. Also fyi members of this band have had past associations with Brazos and White Denim and The Early Tapes. And they’re so good!!

It’s not often that I can say one of my bands has been on the NACC charts for every single week of its run, but so far (5 weeks in) that is the case!! After tying for #20 Most Added, it then climbed the NACC Top 200 to peak so far at #88! I’m totally pumped about this but I still think we can do even better, especially since their last record I worked peaked at #69 (nice) on CMJ, so that’s my number to beat—do you think we can hit it this week?? Let’s give it a try!!

good field album cover front




“We don’t want to be famous, we just wanna stay right here. And that’s what makes us happy.” Sure, it’s a damned lie, but one told with a convincing poker face at the outset of “Ordinary People.”

On their third full-length release, though they’ll dismiss the first two as shoddy little home recordings, Good Field sounds like a band that’s found a comfortable number of beats per minute in which to weave their warm-toned, melodic pop with fuzzy guitar hooks. Confidence looks good on a band that does far too little of its own bell-ringing for any promoter’s taste. It doesn’t hurt when you have Jim Eno (Spoon, Father John Misty) at the sound board and James Petralli (White Denim) on hand to curate some of the rangy noise creatures hatched on the creative retreats where the band claims to do the bulk of its writing.

The creative process for Surface Tension was unique in the fact that it was written almost entirely on these retreats to remote cabins and ranches in West Texas. There’s not a hint of irony or rehashed hippie new ageism with this though, no yoga mats or hot stone massages. Plenty of weed, armadillos and San Saba sunsets, mixed with all-nighter recording sessions for Paul Price (guitar & vocals), Michael McLeod (bass), Esteban Cruz (drums), and Kyle Robertson (keys). All this to capture a simple melodic idea or groove to warehouse for later refinement.

The resulting album, Surface Tension, has as much sonic DNA in common with The Animals or Yo La Tengo as it does The War on Drugs or Deerhunter. In the way that it features simple, deep-voiced compositions with mostly live tracked rhythm sections (quarterbacked by Justin Douglas [Michael Jackson, Celine Dion], and mastered by Alex Wharton [Radiohead, My Bloody Valentine] at Abbey Road Studios), the record rounds the nostalgic bases, but with no winks to belie the passing gestures to the resin on Tom Petty’s roach clip.

“Most of the time, there’s a raw grit tapered with  smooth hooks that recalls the best elements  of  the Strokes, but it’s undercut by a laid back groove that feels like Yo La Tengo. The fact that  it’s such a nuanced blend of these kinds of bands keeps Good Field’s sound fresh and distinct.” – POP PRESS INTL 

RIYL: Wilco,  Midlake, Grizzly Bear,  Brazos, Yo La Tengo, The War on Drugs, Deerhunter

Start With: 1, 6, 5, 9
FCC: 8 says “hot as hell” and “goddamn”; otherwise CLEAN

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

AND, don’t miss Good Field (and me with them) at SXSW!!

good field sxsw