WARREN DUNES – GET WELL SOON is at Top 200 Radio Now!!!

It hasn’t been very long so hopefully you still remember the Warren Dunes single of theirs I worked last fall – Seattle’s sweethearts are back!! The two tracks from that single are included on this album as well, although one of them (“Cool Mom”) is actually resurrected in new form, with an added rap verse by Tacoma’s Chris Blount! As you may remember from last time: this band is so great. It’s tropicalia- or even reggae-influenced indie rock, uplifting carefree stuff with a real original spirit. At points it’s almost surfy lady-fronted pop a la Best Coast; at other times its world-rhythms-influenced mathy rock reminds me of a band like MuteMath; their infectious joy (and the fact that the band contains a gleefully happy romantic couple) is even reminiscent of Matt and Kim. You’re gonna love it!! I’m personally particularly impressed that band leader Julia Massey plays two keyboards at once – one with each hand, positioned on opposite sides of her body – while singing. You’ll also catch the vibe that this album is pretty specifically about these times we’re going through, with themes of civil unrest and social justice woven deeply into its fabric (without being so preachy as to sacrifice these songs being absolute bops). The album title isn’t a coincidence. Also fyi, this band is available for interviews if you’d like to have them call in to talk to you! Just hit me up and I’ll connect you! KEXP is already on board (including featuring them on a recent Sound & Vision podcast!), as are BTRToday and Flood Magazine. What are you waiting for?!



Big Wawa Records

Gold pants, red hair, and a Kevin Durant jersey are the first things that catch your eye at a Warren Dunes show. You might compare the Seattle power trio on stage to what it may look like if the summer camp counselors started a band, and wonder if maybe you weren’t at a rock show. Then lead singer, Julia Massey, begins to thank everyone in the crowd for coming, and each person starts looking around because they could have sworn she was talking directly to them. The band starts to play and you notice that Massey is spread-eagle between two keyboards, brothers Jared and Dominic Cortese are all smiles in anticipation of what’s to come, and an arresting crystalline voice begins to trumpet above a palette of tropicalia-infused art rock. Your problems and worries melt away, people are dancing, some are crying, there are neon palm trees on the stage, and for the next hour you feel like you are under the warm sun on a tropical post modern beach somewhere far away. The world is ok. 
On Get Well Soon, Warren Dunes’ debut LP, Julia, Jared, and Dominic want to bottle up that experience from their live shows, and do their part in the healing process. “We named the album Get Well Soon because we wanted this record to be like a Hallmark card to everyone who lived through 2020,” says guitarist (and Massey’s husband) Jared Cortese.  Drummer Dominic (and Jared’s brother) adds, “we all just lived through some crazy shit, and we wrote an album that we hope acknowledges all we’ve been through, and helps people move forward.” Creating a soundtrack that drives you back to the present moment is one of Massey’s central goals, who has been cultivating this technique ever since an early event with death led her to the path of songwriting. After losing her father to cancer at fifteen, Massey developed a way of making sense out of chaos. “When I lost my Dad the only things that really made a difference were comforting words from friends and family, and music.” 
Get Well Soon slides seamlessly through anthemic choruses, introspective ballads, and meditative chants that follow an arc of danceable beats and grooves you can sink your teeth into. On “Quit Takin A Side”, Massey implores, “listen to the feelings in between every single thought floating in your head/hear what is there instead.” On “Be Good”, one of the record’s more pertinent tracks, Massey asks, “why would you be good to someone who’s bad to you/to somebody whose job it is to be good to you?” but leaves the answer open. This offering of contemplative lyrics that require self-reflection on the part of the audience pervades the record, and creates a conversation between the listener and the band, eloquently avoiding the pitfalls of tackling sensitive subjects head on. This is Massey’s superpower.
Brothers Jared and Dominic Cortese spent their youth running through the shifting sands of Warren Dunes State Park in Southwest Michigan. Drawn together by their shared love of music, Massey and the Cortese brothers decided to form a true family band, and the name came easy. With a reputation for bringing their audience to tears and guaranteed hugs after a performance, not being in the same room with their fans has been burdensome for Warren Dunes. Get Well Soon, which includes the band’s 2020 single “Fishbowl” (#18 on NACC’s Singles chart and KEXP’s Song of the Day), is the band’s offering of love, hope, and healing for Dunesfolk of the past, present, and future.
Based on the belief that we can all be #smallbutmighty, Warren Dunes donates proceeds from live performances to a variety of charitable organizations. For more information, please visit their Beneficiaries page.

RIYL: Best Coast, Tune-Yards, Matt & Kim, MuteMath

Start With: 8, 4, 6

FCC: 8 says “asses”, otherwise CLEAN

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


NEGATIVLAND – THE WORLD WILL DECIDE is at Top 200 and Electronic Radio Now!!!

I can’t tell you how psyched I am to get to bring Negativland’s second full-length album in as many years to college radio. This one is like a companion piece, a sequel, a continuation: title of this one is THE WORLD WILL DECIDE. It’s unheard of for Negativland to make two records in back-to-back years like this, but they made them all together, to be of a piece with each other. If you’ve been around for any length of time with an interest in experimental/outsider music, you definitely know these guys: the weirdos who pioneered the art of sound collage, specifically a version of mashups they call “culture jamming”; who got sued by U2; who get their work and ideas taught in college classes. Like last year’s, 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. While also still being totally listenable simply as music (you don’t HAVE to approach this as an art project, if you don’t want to!) 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. It’s political, philosophical, timely, playful, dark, weird. Alongside this album there is also a skill set for Alexa and a Chrome extension (plus some very detailed visual art) – Negativland are multidisciplinary weirdos!



Seeland Records

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.

The mirror image sequel to last year’s True False, The World Will Decide turns the focus away from our very human inability to accurately define reality, and towards the technologies being built to do a better job at it. But if sorting true from false seemed like a full time job back when all we had to keep track of was our own minds, life alongside the machines built to connect us only seems to multiply the uncertainties. On this album those uncertainties are made almost deliriously danceable: a netweb of densely sampled voices melting speech back down into music and back again, into what we can all agree are the real questions — Did that firefly really land on your finger? Would you like to be arrested? Does this app connect you to people, or replace them? Is this post an example of inauthentic behavior? Do people have to die? Or, as one of the many sampled voices on this work will assure you: we can really feel like we’re here.

And, finally, just who’s even in Negativland these days? Didn’t half of them die a few years ago? For The World Will Decide, Negativland consists of Mark Hosler, vocals by David “The Weatherman” Wills, Peter Conheim, and Jon Leidecker (the Thurston Moore Group), as well as the dearly departed Don Joyce, Richard Lyons and Ian Allen. The album also contains 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), as well as guest artists including Prairie Prince (The Tubes), Matmos, Ava Mendoza, Jem Doulton (Thurston Moore Group), Tom Dimuzio, Kyle Bruckmann, Nava Dunkelman, Erich Hubner (Man or Astroman?), and Kevin Blechdom (plus Marc Maron’s voice in samples).

“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: 2, 7, 10, 13                  

FCC: *1*; also 13 says “Goddamn” (only)

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




V/A – THE MARSHMALLOW GHOSTS PRESENTS THE WITCHING HOUR is at Top 200 Radio Now (with a Halloween Streaming Event Premiere)!!!

I’ve got a really special and out of the box Event-type thing to talk about for my newest radio add. I can’t describe what this is any better than the text below, so I’ll keep this short, but I’ll just say that working with Graveface Records is always one of my greatest pleasures, and Ryan Graveface really outdid himself making this Halloween as covid-friendly AND spooky as possible, all in a lil thing that’s thoughtfully designed specifically for radio. Also please note if you’re not learning about this until after Halloween, I’m also still working this as a compilation album thru the end of the year; as individual tracks, they’re not so explicitly Halloween-y as to be inappropriate in November and December (except maybe the one track called “DRACULA” lol, it’s a take-off on “Tequila!”). It’s just good music from Graveface Records! Read on for more about this!



Graveface Records

The Marshmallow Ghosts are the Graveface Records annual spooky Halloween band. It’s a rotating cast of characters, often-times pulling musicians from within the active Graveface roster—a very collaborative affair. 2020 marks the 12th annual Halloween LP release and it’s extra-elaborate and radio focused:
This year’s LP is a 37-minute presentation that basically amounts to a radio play. It’s got music tracks as well as spoken-word interstitial parts, constructed and stitched together to sound like it’s an actual radio show (the narrator character of the interstitials is a radio DJ), on the fictional radio station KLME. This DJ is taking calls and hearing stories about people’s spooky encounters, and getting increasingly freaked out at the station, culminating in getting a call from a person in their life who’s supposed to be dead. In between calls, the DJ keeps introducing (and spinning the full tracks of) actual music you’ll want to be spinning anyway, and there’s even a couple of fake commercials in the middle—which can be edited out and left instead as a break in which your station could put in a real voice break or PSAs if you need to – these digital files are set up like a vinyl record and the “commercials” happen at the end of Side A and the beginning of Side B. Feel free to request edited versions with any alterations you need! The whole thing is spooky and deliciously creepy, in a fun-spirited Halloween way (nothing actually seriously dark or gross or horrible or FCC-noncompliant). Like telling ghost stories around a campfire, but mixed with the idea of a War of the Worlds-type hoax radio broadcast.
The big idea is to get a bunch of stations all on board to broadcast this thing all at the same time: we’re shooting for 9pm ET/6pm PT on Halloween itself. At that time, people can tune in all over the country at the same time and they’re all getting this same creepy broadcast from all kinds of different, unaffiliated stations. This is where it’s at if you’re looking for a creative, unconventional way to celebrate this strange unconventional 2020 Halloween we’re facing!
There’s also a version of this whole thing with just the music, tracks broken apart separately and without the interstitial narrative parts (presented as a compilation album; both versions available for download or streaming preview for stations now). The artists include Night School, Fawning, Joel Grind, Velvet Gentlemen, and Sondra Sun Odeon alongside The Marshmallow Ghosts – all very Graveface-y stuff; fans of the Casket Girls will love the Marshmallow Ghosts and Fawning tracks, and fans of Best Coast will love the Night School one. This compilation will also end up running as a regular Band Mom radio campaign, to go for adds November 3rd, the Tuesday after Halloween (so if you’re not able to spin on Halloween, you still get a chance to do something with it) – but that’s really icing on the cake bonus stuff; the Halloween simultaneous streaming event is really what this is all about.

RIYL: Graveface Records, spooky campfire stories, War of the Worlds-type hoax broadcasts, The Marshmallow Ghosts, Casket Girls, Best Coast

Start With: 7, 3, 5


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


WEEKEND LOVERS – I LOVE U IN REAL LIFE is at Top 200 Radio Now!!!

Allow me to introduce you to the jewel of Tucson: Weekend Lovers! I mailed out a very few hard copies of this one – I only had the smallest handful of physical CDs to work with this time, so if we’re regularly in touch and I know you need them you’ve probably got one at your station by now; otherwise, yours is probably a digital copy (although I just got a tiny handful more to send out as requests, so hit me up asap if you need one!) – either way it’s time to jump on board with this good stuff!! This fun post-punk-meets-dream-pop lady-fronted band came to me via Totally Real Records, a new label which is run by, guess what, my old pal Bryan of Mount Sharp!! It’s all connected. Those two bands are not exact soundalikes, but they’re in a similar ballpark, so odds are very good that if you liked that Mount Sharp record I worked this past spring, you’ll likely dig this Weekend Lovers record as well. Marta De Leon, bandleader of Weekend Lovers, has (previous to her current home of Tucson) lived in Seattle and Brooklyn – much like me! – although in the opposite order of my wanderings, so we never actually crossed paths IRL. Until now, when I get to work her super cool record!! Check it out, it’s got a cover of George Michael’s “Father Figure” and a bunch of other stuff you’re gonna like!! (And PS regarding the extra-specific FCC warning you’ll note below: I know most stations can play “asses”, but some like to know about even the mildest swears too, so it’s better safe than sorry to just let you know – and I want you to know you can trust my info on this kinda thing! Track 8 says “asses” and that’s it; if that’s not a problem for you than this whole album is FCC Clean!!) Weekend Lovers yes!!!



Totally Real Records

Bassist, vocalist and songwriter Marta De Leon cut her musical teeth in Seattle indie bands before relocating to NYC, where she fronted Brooklyn-based art pop band The Meaning of Life. Tucson-based band Weekend Lovers marks a return to De Leon’s desert roots, a street smart modern indie rock band kissed with dark clouds and monsoons, combining infectious hooks, soul-wrenching lyrics and punch-to-the-gut rock swagger, and laced with just enough 80s pop and new wave magic to make the songs seem both brand new and achingly familiar.
The band’s debut album, When U Were Weird (2018), gained the band a devoted hometown following and garnered local and national press in such outlets as Tucson Weekly, Tucson Sentinel, Impose Magazine, Turn Up The Volume and Jangle Pop Hub.
Now, De Leon and her bandmates, guitarist Danny Perez and drummer Gabi Lisk, aim to invoke their MTV era spiritual forebears with their sophomore album, I Love U In Real Life, featuring some of the band’s best material to date.
The new album’s first single, “Baby”, quickly earned a place in the rotations of Arizona’s indie radio stations. Next, original track “2Soon” is a bass-driven, harmony rich indie gem that explores the parallels between personal and creative loss, with inspiration from Stevie Nicks, Scorcese and the hazy gauze of not-quite 2020 hindsight. “Father Figure” is a gender-flipped take on the 1987 George Michael classic, subversively weird and coyly flirtatious, but unabashedly nostalgic. Perfect for any quarantine new music playlist.
I Love U In Real Life was produced and engineered by eight-track wiz/vintage studio guru Matt Rendon of The Resonars. The tracks were recorded at Midtown Island Studio in Tucson, studio home to a host of bands including The Resonars, The Exbats, The Rifle, and Lenguas Largas.

RIYL: Mount Sharp, Rainer Maria,Blondie, Death Valley Girls, Electrelane, George Michael (cover)

Start With: 8, 4, 6

FCC: 8 says “asses”, otherwise CLEAN

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


AMANDALA – STRONGER EP is at Top 200 Radio Now!!!

Meet my new pal, AMANDALA! This is a really cool Seattle-based artist, who actually came my way via Julia Massey, the bandleader of the also Seattle-based and wonderful Band Mom artist Warren Dunes. But another cool thing about AMANDALA (stage name of artist Amanda Lamprecht) is that she’s originally from South Africa! You can totally hear the accent in her singing voice and everything. Extremely cool. (Adding to my intensely international roster here; between New Zealand, Sweden, and South Africa [plus my many American artists], The Band Mom has got four whole continents represented in 2021!!! Waow.) She’s also a yoga teacher who went to law school. AMANDALA contains multitudes. Her voice/vocal delivery gives off strong Cranberries or even sometimes Björk vibes, and her musical style ranges from 90s-ish singer-songwriter a la Natalie Imbruglia to more adventurous, dream-pop kinda stuff like say Sia or Dido. She’s all about empowerment, tapping into your strength, and oneness with the universe. (Very in line with her yogi profession.) It’s refreshingly optimistic and sweet while still adding something new to the musical conversation. I think you’ll like it, give it a whirl! I promise this isn’t a permanent state of things for the Band Mom, but this is indeed my third add in a row which is entirely digital only, so don’t wait for a hard copy – please feel free to reach out if you’re at a radio station and didn’t get the download, and get into the happy whimsical world of AMANDALA!!




AMANDALA is a Seattle-based singer, songwriter, multi-instrumentalist and yogi born in Cape Town, South Africa. Amanda Lamprecht adopted the stage name AMANDALA because it sounds like the word “mandala”, which is a Sanskrit name that literally means “circle”. A Mandala is a tool in many spiritual traditions to aid a practitioner to inner states of wholeness.

AMANDALA’s third professional studio release, Stronger, is aimed at the concept of coming full circle and stepping into one’s power. The short album of 7 songs is a picturesque musical landscape in a style that draws influences from indie pop and indie folk-rock.

AMANDALA’s songwriting and voice has been compared to the likes of Björk and The Cranberries, and her songs dictate both raw edge and crystal sweetness. 

AMANDALA is a world traveler who lived on three continents, traveled the globe to study yoga and holds a Law Degree from Nelson Mandela University. She played violin from the age of 6 and sang in many school choirs throughout her life, but it was not until she moved to the US that she started to play in goth and punk rock bands and write her own music. Between 2008-2012 she self-released two experimental albums, Tanzanite and Make This Real, for which she did all the instrumentation herself. In 2015 she teamed up with producer and co-owner of London Bridge studio, Jonathan Plum, to co-write her first professional studio album Far and Wide in a dream pop style. Andrew Joslyn, violinist for Macklemore, and Davey Brozowski, traveling drummer for Modest Mouse, played on Far and Wide.

In the same year, AMANDALA also wrote her first ever Afrikaans album, Alles wat jy lief het, in an indie pop, folk rock style. The Afrikaans album was recorded at Earwig Studios in Seattle, working with studio owner Don Farwell, and completed in South Africa. “Two albums on Two Continents in Three studios in One year” became the tagline for a 5-month music promotion trip to South Africa from October 2016 – March 2017.

Her newest EP, Stronger, was an international project. Musicians from Seattle and South Africa played on this album. The recording for Stronger began at Earwig Studios in Seattle, before continuing its journey in Stellenbosch, South Africa at Sunset Recording Studio. Coming full circle, the songs were mastered by Ed Brooks from Resonant Mastering (Death Cab for Cutie, Fleet Foxes, Courtney Marie Andrews, The Head and the Heart) back home in Seattle. 

A music video was released for the song “Let’s Not Leave This Life Broken” from Stronger, and received 2000 views in only 2 weeks. The video is a request for universal unity and friendship, filled with images that are profoundly colorful and watery, with a thumbnail that is Frida Kahlo inspired. Another music video will be released in mid-October 2020 for the song “Flow” that will feature more water and ocean scenes. “Flow” is a musical sketch of a river building till it finally reaches the ocean, so the vocals are sparse and it doesn’t follow cookie cutter song structures. 

AMANDALA’s intention with Stronger was to write songs that make one feel empowered, more connected, songs that encourage, that reflect. The songs convey all the attributes of water. Water is fluid, moody and emotional. Water can be powerful, loud, still or reflective. Water can be hard when it is ice, or it can be weightless when it becomes steam. Just as water does not have a form, but it takes the form of its container, so it was AMANDALA’s intent that her music does not sit in one specific genre, but rather capture a fluid mood which is different from song to song and album to album.

RIYL: Dolores O’Riordan/The Cranberries, Björk, Natalie Imbruglia, Dido, Sia

Start With: 3, 1, 6


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






WARREN DUNES – “FISHBOWL” b/w “COOL MOM” is at Top 200 Radio Now!!!

This wonderful Seattle-based band (named after a Michigan landmark) has been pals of mine for a few years now, ever since I was first introduced to lead singer Julia Massey by our mutual friend (and top-tier Band Mom artist), Shenandoah Davis. I can’t tell you how happy I am to finally get to work a release of Julia’s. This two-track single release is in advance of an album that will be coming out, EVENTUALLY, but not until at least Spring 2021, so for now think of this one as a simple standalone release consisting of two songs (not an album teaser per se).

This band is so great. It’s tropicalia- or even reggae-influenced indie rock, uplifting carefree stuff with a real original spirit. At points it’s almost surfy lady-fronted pop a la Best Coast; at other times its world-rhythms-influenced mathy rock reminds me of a band like MuteMath; their infectious joy (and the fact that the band contains a gleefully happy romantic couple) is even reminiscent of Matt and Kim. You’re gonna love it!!

Also fyi, this band is available for interviews if you’d like to have them call in to talk to you! Just hit me up and I’ll connect you!



Big Wawa

Slinking Caribbean funk-pop with big choruses and groovy rhythms.” – Under the Radar

Currently residing in the always-balmy Pacific Northwest, brothers Jared and Dominic Cortese spent their youth running through the shifting sands of Warren Dunes State Park in Southwest Michigan. In Warren Dunes, their Seattle-based band fronted by Julia Massey, they chart new realms of musical fantasy with contagious joy.

Post-modern beach music, Warren Dunes weaves threads of indie pop, art-rock, psych, and Tropicalia into a complex yet easy-going whole. Self-assured yet free of bombast, their debut EP Welcome To Warren Dunes (2019) is an art-pop dreamscape of unapologetic fun. This is a record of nuance and bubbling ornament, where bold swaths of melodic primary color burst into neon-flecked clouds of sonic glitter as Massey’s arresting, crystalline voice soars overhead.

Their forthcoming single “Fishbowl”, and its accompanying meditative video, serves as a reminder of the value in recognizing our shared humanity. In 2015 and 2016, there were a handful of experiments conducted where strangers were asked to sit and silently share eye contact with one another for 4 minutes. What they discovered was that this simple act of looking into one another’s eyes for a short time created a “deep and meaningful connection.” “Fishbowl” is an homage to this experiment; it illustrates what happens when we truly take time, and not much time at all, to meet people where they are in the present moment.

Since the release of Welcome To Warren Dunes, the band has toured nationally, performed an in-studio session at venerable bastion of independent music KEXP (who lauded the band’s “psych-tinged indie-pop, shimmering guitars, bouncy rhythms and soaring hooks”), and released a wild video for EP standout “Crosstown Villain”. Instantly recognizable, the music of Warren Dunes slides seamlessly from delicate post-punk explorations to anthemic, sing-along pop built on a foundation of arena-worthy choruses.

Based on the belief that we can all be #smallbutmighty, Warren Dunes donates proceeds from live performances to a variety of charitable organizations. For more information, please visit: www.warrendunesband.com/beneficiaries

RIYL: Best Coast, tUnE-yArDs, Matt & Kim, MuteMath

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


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






JONAS CARPING – STRANGERS is at Top 200 *and Folk* Radio Now!!!

If you’re a longtime Band Mom head, there’s a chance you may remember Jonas Carping from the last time I worked a record of his – Cocktails and Gasoline, back in 2016. He’s back!! But, while that 2016 record was tinged with classic rock, this one is stripped down raw, simple, quieter. Recorded live in the studio, primarily with just two guys, plus one lady adding some BGVs (not a full band). It’s got a Prince cover, a Neil Young cover, and five originals. I must admit it is very thrilling to me that I went from working with a New Zealander artist to a Swedish one. The Band Mom is international, baby!!

This is a rare record I’m promoting to two different charts in the NACC system: going for both Top 200 (general/rock/catchall) as well as Folk genre charts! If you’re a Folk director and we haven’t spoken before, hit me up – I’d love to send this your way!!




Jonas Carping is an independent artist based in Lund, Sweden. Jonas has released two studio albums – solo debut All The Time In The World (2012) and Cocktails & Gasoline (2015) which both reached critical acclaim in the underground blogosphere.
Strangers, Jonas’s third studio album, is a collaboration with Amsterdam guitar player Michiel Oskam (and with the support of background vocals from Sigrid Carping, Jonas’s wife). It was recorded live in the studio of Scotsman Simon Larkin residing in the heart of the south of Sweden. Simon is a former London-based session musician now running his own studio in Sweden – Larkin CS Studios.
Jonas and Michiel wanted to keep the recordings and arrangements as raw and naked as possible. Simon’s studio was the perfect place for this. It was a truly inspiring environment focused simply on the pure love for making music.
In addition to five original tracks, this album includes two covers: Prince’s “When Doves Cry” and Neil Young’s “Rockin’ In The Free World”. Both iconic songs that have been favorites of Jonas’s for a lifetime, stripped down to their hauntingly beautiful songwriting roots in tribute to their genius.
Honest and raw. Naked and pure. We hope you’ll love it.

RIYL: Noel Gallagher, Johnny Cash, Bob Dylan, Leonard Cohen, The Glade, Prince & Neil Young (covers)

Start With: 3, 5, 4


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










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.



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


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






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!



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!





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!!



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!