pop

The Irrepressibles Release Debut Mirror Mirror in America on 9/9

At long last, the flamboyant, fantastical, and unfathomable Irrepressibles will release their debut album, Mirror Mirror digitally in America on August 9th, followed by a special edition of the album October 25th featuring exclusive remixes from Röyksopp, Hercules & Love Affairand Zero 7 amongst others. The single “In This Shirt” will be available with exclusive remixes via Beatport on June 27th. For a taste of the album, the English group has also made “Forget The Past” available as a free download HERE (feel free to share), and see a performance video of “Forget The Past” HERE. The group has also released three videos for “In Your Shirt”: check out the band performing in their creation The Human Music Box HERE, footage from the movie The Forgotten Circus HERE, and Roy Raz’ video for the track HERE (NSFW).

Led by creative director, conceptual artist, composer, lead vocalist and choreographer Jamie McDermott, the 10-piece performance orchestra has already earned comparisons to early David Bowie, Kate Bush, Anthony & The Johnsons and even Bonzo Dog Do Dah Band. And on Mirror Mirror, the band has created an unparalleled album that fuses European orchestration with pop melodies and soaring cathartic vocals. From the dramatic opener “My Friend Jo” to the galloping rhythms of “Anvil”; from the yearning echoes of “Forget The Past” through to the intensely intimate “In This Shirt”, Mirror Mirror is a beautifully constructed sonic exploration depicting Jamie McDermott's confessional stories of love, anger, lust and loss with a journey through The Irrepressibles’ mystical and theatrical world.

Over the last seven years, The Irrepressibles have pioneered a new frontier in pop performance. Using conceptual sets, and teams of artists in film, dance, avant-garde costume and make-up, the collective bring these songs to life through create extraordinary live spectacles. They have staged their inimitable displays all over Europe, including performances at the Hackney Empire, Roundhouse in London, a Roman amphitheatre in Barcelona, a 17th Century villa in Sicily, the infamous La Cigale in Paris, and played two shows at the Victoria and Albert Museum in London to capacity crowds.

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Mirror Mirror Tracklist:
1. My Friend Jo
2. I’ll Maybe Let You
3. In Your Eyes
4. Anvil
5. Forget The Past
6. Knife Song
7. My Witness
8. Nuclear Skies
9. Splish! Splash! Sploo!
10. The Tide
11. Transition Instrumental
12. In This Shirt

Rubblebucket Premiere "Worker" with Spinner, NYC Bike Film Festival

Leading up the release of Omega La La on June 21 via Sin Duda Records, Rubblebucket is happy to premiere their latest track, “Worker” with Spinner this morning. The site had great things to say about the band, writing, “Like a love child of the Rapture and Dirty Projectors, Rubblebucket have been churning out highly polished pop since their inception, and their upcoming record, Omega La La, is sure to have you grooving in your skinny jorts this summer.” Listen to the track HERE, and read Spinner’s piece on the hand HERE. As a part of the band’s upcoming summer tour dates, Rubblebucket is also headlining Bikes Rock!, the opening night of the Bicycle Film Festival in New York City, on 6/22 at Santos Party House. Check out the band’s full summer tour below.

Omega La La marks a milestone for Rubblebucket. Recorded last year at Plantain/DFA Studios with Producer Eric Broucek (LCD Soundsystem, Cut Copy, Hercules and Love Affair) at the helm, the record is the Brooklyn eight piece’s most adventurous record yet, with the band dipping into everything from the dancey indie-pop arrangements to Fela-Kuti inspired afro-beat stomps. The album opens with “Down in the Yards,” a track that builds off the ebb and flow of a droning, two-note guitar riff, only to explode into a triumphant chorus anchored by the band’s horn section. That track is followed up by the buoyant psych-pop gem, “L’homme.” “Silly Fathers” and a reworked version of “Came Out of a Lady” show off the band’s penchant for creating pop songs that stick in your head. “Raining” is an eccentric pop song built around intertwining vocal lines and a cascading synth. And so far the record has earned a wealth of praise, with Stereogum hailing the record’s “Tricky arrangements, whistle solos, and disco guitar leads” and PasteMagazine calling the album “instrumentally rich but catchy enough to ass-kick Katy Perry off the pop charts (in a just world)—mega-melodic without sacrificing an ounce of atmosphere or creativity.”

For Rubblebucket, it’s been a long journey to make Omega La La. Led by the musical couple of bandleader/trumpeter Alex Toth and frontwoman Kalmia Traver, Rubblebucket has spent the last four years building a reputation as a band that blurs the lines between psychedelic indie rock, upbeat dance, and radiant, left-field arrangements. In 2009, Rubblebucket released a self-titled album that turned heads. SPIN hailed the band as a "must-hear artist from the CMJ Festival” in 2009 and the band won that year’s Boston Music Award for Live Act of the Year.  The band then relocated to Brooklyn and released the Triangular Daises EP in 2010. A stylistic precursor to Omega La La, the Triangular Daises EP was hailed by The Wall Street Journal, NYLON, Paste, and a host of others.

Rubblebucket Premieres Latest Track “Worker” with Spinner Today  Download the Mp3 HERE

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Rubblebucket Spring/Summer Tour Dates:

06/16: Cleveland, OH @ Beachland Ballroom
06/17: Spencer, IN @ Stable Studios Music Festival
06/18: Grand Rapids, MI @ Founders Fest
06/22: New York, NY @ Santos Party House – NYC Bicycle Film Fest
06/28: Pittsburgh, PA @ Rex Theatre
06/30: Madison, WI @ Majestic Live
07/02: Rothbury, MI @ Electric Forrest Festival
07/08: Rochester, NY @ East End Festival
07/09: Schuylkill, PA @ Midsummer Meltdown
07/15: Buffalo, NY @ North Fork Music Park
07/16: Greenfield, MA @ Green River Fest
07/24: Bridgeport, CT @ Gathering of the Vibes
07/29: Floyd, VA @ Floyd Fest
07/30: Floyd, VA @ Floyd Fest
08/13: Burlington, VT @ Grand Point North
08/18: Stephentown, NY @ Bella Terra
08/19: Brooklyn, NY @ Brooklyn Bowl
08/20: Sheldon, VT @ Liberate Festival
09/03: Chicago, IL @ North Coast Festival
09/04: Mohawk, NY @ Moe.Down
09/10: Peru, NY @ Backwoods Pondfest
10/08: Roseland, VA @ The Festy
11/11: Live Oak, FL @ Bear Creek Music & Arts Fest

Tommy Keene's 'Behind the Parade' coming on August 30

When you’ve been pursuing your craft for the better part of 30 years and approximately a dozen albums without the benefit of universal adulation, you’re either wholly obsessed or doggedly determined. In Tommy Keene’s case, it’s likely a mixture of both. Hailed by some as power pop’s most fervent champion, he has been obsessed with making music for nearly three decades, toiling away with impressive results while winning the respect of a small but loyal group of listeners who hold everything he’s ever offered in the highest esteem. Long before now, Keene should have been welcomed into the pop pantheon, alongside McCartney, Rundgren, Wilson and all the other meticulous musicians long acknowledged for their creativity and consistency. Ask his devotees and they’ll tell you Tommy Keene is the equal of them all.

Behind the Parade, Keene’s latest album and his third release on Second Motion (including last year’s career spanning retrospective You Hear Me), schduled for August 30, 2011 release in three formats (CD, mp3 and limited-edition 180-gram vinyl), provides the latest body of proof. Like its predecessors, the disc affirms his pop proficiency, mastery of his craft and his ability to ensure instant accessibility given the benefit of emphatic hooks, irresistible refrains and the kind of vibrant, jangly melodies that bring to mind a distinctly ’60s sensibility. Keene may once have worshiped at the altar of the Beatles, Byrds and Beach Boys, but his synthesis of sounds transcends these retro references and stirs it into something that’s wholly fresh and exhilarating.

Ranging from the proto-Keene jangle of “Already Made Up Your Mind” and the edgy, power pop (no, he doesn’t mind that description — much) storytelling of “Running For Your Life” and “His Mother’s Son” to the moody, ambient instrumental “La Castana” and the horn-infused opener “Deep Six Saturday,” Behind the Parade finds Tommy ably taking a few risks while managing to play to his considerable strengths. Behind the Parade, along with his recent output, shows Keene is akin to an athlete rediscovering his prime, only in this artist’s case, he never left it.

Back in 1984, a six-song platter of pop perfection titled Places That Are Gone (Dolphin) put Tommy Keene onto the CMJ charts and atop the Village Voice EP of the Year poll. Blatantly romantic, unapologetically melodic, bittersweet but absolutely invigorating, it still stands as a powerful statement, not only establishing Keene as a unique singer-songwriter, but also as a guitarist with a sound as distinctive as Pete Townshend or Johnny Marr.

Keene made enough noise in the early ’80s to get the majors involved, and in 1986 he released Songs From the Film on Geffen. Produced by Beatles engineer Geoff Emerick, the album featured two MTV videos, “Listen to Me” and a re-recording of Places That Are Gone’s title track, and spent 12 weeks on Billboard’s Top 200. The 1998 CD reissue of Songs also includes one of the all-time great Keene rockers, “Run Now,” with inspired rhythm section work from drummer Doug Tull and bassist Ted Niceley, plus a terrific extended guitar solo. The singer as well as the song appeared in the Anthony Michael Hall movie Out of Bounds.


After releasing the Run Now EP in 1986, the original Tommy Keene group, which also included guitarist Billy Connelly, disbanded. Keene headed down to Ardent Studios in Memphis to record with producers John Hampton and Joe Hardy. The result was Based on Happy Times (Geffen, 1989). The ironically titled disc is the darkest album in the Keene catalog. Although his best material has always been infused with melancholia, Happy Times’ tracks like “The Biggest Conflict” and “A Way Out” reveal a more fatalistic outlook. The guitars are heavier, there is less jangle, and there aren’t as many hooky vocal harmonies. It is a beautifully crafted, sometimes brooding, arty rock record.

In 1996, Keene released Ten Years After (Matador), his first full-length album of all-new material in seven years. Produced by Keene and recorded by pop music wunderkind Adam Schmitt, the album contains classic pop hooks and the loudest guitars to date. For his next effort, Isolation Party (Matador), Keene recruited an all-star cast, getting some fine instrumental and vocal performances from former Gin Blossom Jesse Valenzuela and Wilco’s Jay Bennett and Jeff Tweedy. A live disc called Showtunes (Parasol), released in 2000, was followed up in 2001 with The Merry-Go-Round Broke Down for the SpinArt label. Tommy used his next effort, Drowning: A Tommy Keene Miscellany (Not Lame), to clean out his closets of 20 years’ worth of rarities, demos and unreleased sessions. One of the best hodgepodge records you’ll ever hear, more than one critic felt Tommy’s spring-cleaning LP bested many greatest hits packages.

Back on the road in 2004, Keene and band joined Guided By Voices on the East and West Coast legs of their farewell tour. Apart from some great gigs, the shows also led to Keene joining Pollard as a member of his post GBV band, The Ascended Masters, for their 2006 U.S. tour and a limited-edition live LP, Moon (Merge). The year also saw the release of Crashing the Ether (Eleven Thirty), which was performed and recorded primarily by Tommy himself at home with drums by John Richardson and contributions from regular Keene band members and friends. Sonically, the album is dazzling, with big drums and open, ringing guitars, and lyrically it was arguably a great leap forward.

Tommy quickly followed up Crashing the Ether with Blues and Boogie Shoes, an LP with Robert Pollard under the Keene Brothers moniker. Although side projects can sometimes be less than wholehearted efforts, tracks such as “The Naked Wall” or “Death of the Party” — as good a song as Keene or Pollard have written together or separately — show that neither artist held anything back.

2009’s In the Late Bright (Second Motion) displayed the full range of Keene’s songcraft over 11 tracks. The album kicked into high gear with “Late Bright,” a minor-key rocker that gets its tense and dramatic work done in two minutes flat. From there on out, the album delivered a fan-friendly collection of melodic hooks, vocal harmonies, inventive chord progressions and great guitar playing.

Keene summed up his solo output to-date with Tommy Keene You Hear Me: A Retrospective 1983-2009 (Second Motion), a two-CD collection holding over 40 of his best tunes (including an unreleased acoustic take of Crashing the Ether’s “Black and White New York”). Even then, fans debated what he included vs. what he left off — further proof of the man’s enduring songwriting prowess.

Suzanna Choffel To Release New Album, 'Steady Eye Shaky Bow,' May 24

Suzanna Choffel, whose dusky vocals are as intriguing as her indie-soul-pop originals and sultry stage presence, releases on Tuesday, May 24, her latest album, STEADY EYE SHAKY BOW, a collection of upbeat melodies and ballads that Choffel describes as “blues-colored dark grit” drawing from musical influences that include Stax-style jazz and Motown R&B.

Choffel and her band — Kyle Thompson on drums, Johnny Vogelsang on bass, Laura Scarborough on vibraphone and synthesizer, and Chris Gebhard on keys and guitar —will make numerous special appearances around the new release. The band recently performed at SXSW Music Festival, including a show at Auditorium Shores with Blue October.

Around the release of STEADY EYE SHAKY BOW, Choffel will tour in Texas in May and June, including an Album Release Show in Austin. The album has already yielded “Raincloud,” with its smart, witty lyrics and soulful syncopated sound that is more than pop, the song infused with the flavor of New Orleans with the backing by Big Sam’s Funky Nation, and a video viewed on YouTube more than half a million times.
Another song on the new album is “Archer,” from whence the album’s title comes, a song that exemplifies Choffel’s unique lyrical expression of the emotions inherent in relationships.
Multiple award-winner Choffel was named Indie Artist of the Year at the 2009 Austin Music Awards and won top honors in the John Lennon Songwriting Contest.
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Suzanna Choffel upcoming shows include:
May 13, Saxon Pub, Austin
May 19, The Shady Grove, Austin
May 20, Luna, San Antonio
May 24, Waterloo Records In-Store, Austin
May 28, One World Theatre, Austin (Album Release Show)
June 11, McGonigel’s Mucky Duck, Houston
June 16, Buddy Holly Center, Lubbock

Luke Temple To Release New Solo Record

Before the success of his group Here We Go Magic, Luke Temple worked full-time as a plasterer.  At nights after work, he spent his hours crafting what would become Here We Go Magic's self-titled debut.  During the days he wrote a completely different set of songs in his head.  The resulting record Don't Act Like You Don't Care shines with clarity and daylight, in contrast to Here We Go Magic's hazy aquatic debut.

After recording two critically acclaimed solo records for Mill Pond (2005, 2007) Temple's work still hadn't garnered much attention from the record-buying public.  Frustrated, but not defeated, he focused his creative energy into the writing of two amazing, but completely different records.  Initially referred to as "The Country Record," Don't Act Like You Don't Care was shelved due to the success of Here We Go Magic's self-titled debut.  Now, three years later, we're finally able to offer this incredible collection of folk-pop songs.

Unlike the Here We Go Magic record, Don't Act Like You Don't Care focuses on Temple's songwriting and evocative tenor.  From heartbreaking ballads like "So Long, So Long" and "Ballad for Dick George" to jaunty pop gems like "Ophelia" and "In The Open" you'll become fast friends with these songs that continue to satisfy after hundreds of listens.

Inspired by Rudy Vangelder's early Blue Note recordings, Temple and friends recorded the songs in two 4-hour sessions using just three microphones and a 4-track recorder.  Temple is fortunate to have some amazingly talented friends with Eliot Krimsky ( shines with clarity and daylight, in contrast to Here We Go Magic's hazy aquatic debut. Glass Ghost) on synths, Tyler Wood on piano, Parker Kindred (Antony and the Johnsons, Jeff Buckley) on drums, Michael Bloch (Here We Go Magic) on guitar, and Adam Chilenski on bass.

They Might Be Giants Announce First Leg of International Tour!

They Might Be Giants new album, Join Us, is the recording that their fans have been waiting 20 years for! Impossibly catchy, sometimes strange and always original the album is a stunning return to form. On Join Us we find the Brooklyn originals have returned to rock and to their singular sensibility that made them an instant phenomenon in the world of alternative rock. Join Us is an electrifying mix of clever, maddeningly catchy songwriting and studio mastery. The album was created in the brand new private studio of their long-time collaborator Patrick Dillett (David Byrne, Mary J. Blige, Tegan and Sara, Doveman). Join Us will be released in all digital and physical outlets July 19, 2011 through Idlewild/Rounder Records.


The record opens with “Can’t Keep Johnny Down” -- a summer-perfect pop single that will get instantly stuck in your head and make you want to roll down the windows. Immediately following, the caffeinated fuzz of “You Probably Get That a Lot” will command you to pogo! “When Will You Die” features TMBG’s own formula for punk.

The short and sweet  “Judy Is Your Viet Nam” tells an anthemic tale of unrequited infatuation.  The pure folk-pop of “Old Pine Box” showcases the band's signature harmonies, handclaps and the always popular, never anticipated vocoder. The wit TMBG are known for is at it’s finest on Join Us, album closer “You Don’t Like Me” has lyrical gems like “I can see the future like it’s in the past”.  Check out the “Can’t Keep Johnny Down” MP3 HERE.

They Might Be Giants unlikely success story started nearly three decades ago with their Dial-A-Song service. High energy, low budget videos broke them into heavy rotation on MTV and the rest would soon become alternative rock history.  Along the way the band has become the recipients of two GRAMMYs and a platinum record (1990’s Flood). They recorded numerous themes including The Daily Show with Jon Stewart, their GRAMMY-winning theme Malcolm In the Middle and many more.

They Might Be Giants will launch the first leg of their first international tour in over a decade this Fall, hitting 6 countries and over 50 US cities. Notorious for their energized live show, don’t miss TMBG live in your city!

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They Might Be Giants Tour Dates

6/11: Toronto, ON @ Luminato Festival FREE CONCERT
7/15: London, UK @ Koko
7/16: Southwold, UK @ Latitude Festival
7/29: Brooklyn, NY @ Williamsburg Waterfront w/Eugene Mirman FREE CONCERT
9/8: New Haven, CT @ Toad's Place
9/9: Great Barrington, MA @ Mahaiwe Theatre
9/10: Concord, NH @ Capitol Center for the Arts
9/11: Norwich, VT @ Open Air Theatre
9/13@ Ithaca, NY @ State Theatre
9/14: Pittsburgh, PA @ Byham Theatre
9/15: Rochester, NY @ Harro Ballroom
9/16: Cleveland, OH @ Beachland Ballroom
9/17: Detroit, MI @ Majestic Theatre
9/20: Cincinnati, OH @ Southgate House
9/21: Louisville, KY @ WFPK Presents Waterfront Wednesdays
on Harbor Lawn at Waterfront Park (2011 Season Finale)
9/22: Indianapolis, IN @ The Vogue
9/23: Chicago, IL @ Riviera Theatre
9/24: St. Louis, MO @ The Pageant
9/25: Kansas City, MO @ Folly Theatre
9/27: Nashville, TN @ Cannery Ballroom
9/28: Asheville, NC @ Orange Peel
9/29: Richmond, VA @ The National
9/30: Philadelphia, PA @ Theatre of Living Arts
10/1: Boston, MA @ Berklee Performance Center,
(2 shows, 6:30pm & 9pm)

Luther Russell Announces New Double LP

Luther Russell is set to release his fifth LP, a double-length entitled The Invisible Audience, on July 12th on Ungawa Records. It's a wildly ambitious record from the multi-talented singer-songwriter/producer, which he calls "a glimpse into the jukebox of my psyche." The twenty-five tracks on this epic record were culled from months and months of recording "whenever I could get into my eight-track studio or on a four-track cassette to get an idea down." The album's narrative flow seems to run the gamut of emotions from regret, betrayal and loss to humor, nostalgia and hope. His last release, 2007's Repair (produced by Ethan Johns) was a ragged, rootsy pop record full of rich, sometimes bouncy melodies which belied their darker subject matter, namely that of his then-fresh divorce. The album won him quite a bit of acclaim but nonetheless failed to break him to a wider audience. Since then he concentrated on the production side of things, working with a wide array of artists, including Noah & The Whale, Laura Marling, Sarabeth Tucek, Holly Miranda, Richmond Fontaine, Sean Lennon and Fernando, to name a few.

It was during this industrious period that Luther would hit the recording studio on his own whenever time permitted "to capture some kind of feeling before it slipped away" or for other projects like "the odd failed soundtrack that never was." Being a multi-instrumentalist (Luther has lent his talents to many other artists on drums, guitar, bass, keys, etc.) helped to get many songs recorded with no time to waste. For instance, "Traces," a track evoking Slim Chance-era Ronnie Lane, was done "pretty much in one day", recalls Russell. Still, he did enlist help from a few close musical allies to help flesh out harmony-laden blasts like "Everything You Do" and "Tomorrow's Papers", as well as the psychedelic trance-rock of "Motorbike". In fact, on the elegiac "In This Time," members of his old band The Freewheelers popped by to help with the feel of the track. "I just had so many different types of songs coming out of me over the past few years that for once I wanted to intertwine as many as I could, regardless of style or genre, to try and paint a more complete picture of who I am as an artist. This would be my chance because I could take my time and do it until it was done--whenever the hell that would be".

Turns out it wouldn't be for roughly five years, as Luther wouldn't finally compile the songs until he was able to listen to many different sequences on the often snail-paced subway rides between Manhattan and Brooklyn where he had relocated after several years in Los Angeles. "I just began to hit upon the fact that all of the instrumental tracks that I had accrued could provide little 'smoke breaks' for the listener, so to speak". Inspired by the sprawling double-albums of his youth, such as Husker Du's Zen Arcade, Game Theory's Lolita Nation and Fleetwood Mac's Tusk, he began to see the songs woven together in a longer, more colorful tapestry. "I wanted to make a record that someone could literally get lost in...every time you'd drop the needle you'd be somewhere new. It would be like a friend that was always around, but each time you get together something has changed a little, just like in life". Invariably the album would wind up consisting of some darker pathways, to which Luther attributes more than a few harrowing experiences, such as the sudden passing of two of his "very best friends" and a horrible accident where he nearly lost use of his right hand. "A period of intense darkness seemed to settle over me after the recording of my last record. Moving to New York was definitely an 'escape' of sorts, but the kind of loss I experienced over the past few years one can never quite shake, I think".

It's these more contemplative stretches of musical highway that are found in songs such as "A World Unknown," a stripped-down blues lament concerning "various frightened glimpses into one's own mortality" and "1st & Main," a spidery concoction regarding a certain sojourn through downtown L.A. "which I'd rather not discuss", Russell broods. Livelier tracks include the uproarious "Long Lost Friend," something of a sonic shotgun-wedding between the Faces and Nilsson, juxtaposed with lyrics about "literally having fuck-all", and "Ain't Frightening Me," a dervish of acid words and zig-zag melody influenced by the proto-power-pop of Nick Lowe and Dwight Twilley. The font of mix-and-match songcraft throughout the record can also be attributed to Luther's background, which includes a grandfather and great-uncle, each of whom wrote several Tin Pan Alley standards. It's this family history which he pays tribute to on instrumentals such as the ragtime-y "109th & Madison" (named for the intersection in Harlem where his grandmother grew up) and "Still Life Radio," the old Broadway-style opener which evokes an instant nostalgia even before the expansive record has begun to rev-up (with the grinding Sidekick Reverb).

As to the inevitable head-scratching regarding the sheer length of the record, Luther takes it in stride. "I fully get and understand that many people will ask 'why so long' and generally not have the patience to sit through such an 'endless' listen", he laughs, "but I just had to do it. It just felt right and I thought it would be a true musical experience--that is if you even like what I do in the first place!" This time around, not only has Luther Russell made a record that has many of the hallmarks he is known for (ear-catching melodies, lyrics layered with multiple meanings and adventurous musicianship), but he's managed to make one that contains all of them: the dark folk-blues territory he has covered in past records such as Lowdown World, the bold experimentation found in out-of-nowhere u-turns like Down At Kit's and the melancholy pop of the aforementioned Repair. The Invisible Audience aims to tie up the many loose ends of Luther's recorded output and twist it into something new, yet strangely recognizable. "It's an album made for music fans. People like me. Folks who want to disappear for a while, take a vacation from all the bullshit. All you need is a pair of headphones and an open mind".

Architecture in Helsinki Get Remixed by Javelin, New Album Out Today!

Masters of modernist pop Architecture in Helsinki release their new album Moment Bends today on V2/Cooperative Music USA/Downtown Records.  To celebrate the occasion the band is sharing a remix of their single “Contact High” by Brooklyn duo Javelin.  Click HERE to stream/download this lush, shimmering take on the song.  Click HERE to watch the video for the original version of “Contact High,” which Paste Magazine calls “summer’s first mixtape must” and Prefix Mag calls “absurdly catchy.”  Don’t miss the band as they kick off their US tour next month!

In large parts, Moment Bends is in dialogue with the dance floor, without being a slave to any particular rhythm.  Like the best pop albums it bubbles with an immediacy while revealing new layers after repeated listens.  It also showcases the band’s most concise and sophisticated songwriting yet.  Recorded over a two year period in the their studio space, Buckingham Palace, songwriter Cameron Bird says: “Moment Bends was all about being at one with our ideas, obsessed with popular music and falling in love with our hometown.  We wanted to build a record to get lost in.  A record that always feels exactly what you are feeling”.

Click HERE to Stream/Download Javelin’s Remix of “Contact High”

Click HERE for the Video of Architecture in Helsinki’s Original Version

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Architecture in Helsinki US Tour Dates:

06/01:  Los Angeles, CA @ Henry Fonda Theater
06/02:  San Francisco, CA @ Great American Music Hall
06/03:  San Francisco, CA @ Slims
06/04:  Portland, OR @ Wonder Ballroom
06/05:  Vancouver, BC @ Venur
06/06:  Seattle, WA @ Neumo's
06/09:  Minneapolis, MN @ Varsity Theater
06/10:  Chicago, IL @ Lincoln Hall
06/11:  Toronto, ON @ Mod Club
06/12:  Montreal, QC @ Le Tulipe
06/13:  Boston, MA @ Paradise Rock Club
06/15:  Brooklyn, NY @ Music Hall of Williamsburg
06/16:  New York, NY @ Webster Hall
06/17:  Washington, DC @ Black Cat
06/18:  Philadelphia, PA @ World Cafe Live

Austin Indie Singer Suzanna Choffel To Release New Album

Suzanna Choffel, whose dusky vocals are as intriguing as her indie-soul-pop originals and sultry stage presence, releases on Tuesday, May 24, her latest album, STEADY EYE SHAKY BOW, a collection of upbeat melodies and ballads that Choffel describes as “blues-colored dark grit” drawing from musical influences that include Stax-style jazz and Motown R&B.

Choffel and her band — Kyle Thompson on drums, Johnny Vogelsang on bass, Laura Scarborough on vibraphone and synthesizer, and Chris Gebhard on keys and guitar —will make numerous special appearances around the new release. The band recently performed at SXSW Music Festival, including a show at Auditorium Shores with Blue October.

Around the release of STEADY EYE SHAKY BOW Choffel will tour in Texas in May and June, including an Album Release Show in Austin. The album has already yielded “Raincloud,” with its smart, witty lyrics and soulful syncopated sound that is more than pop, the song infused with the flavor of New Orleans with the backing by Big Sam’s Funky Nation, and a video viewed on YouTube more than half a million times.
Another song on the new album is “Archer,” from whence the album’s title comes, a song that exemplifies Choffel’s unique lyrical expression of the emotions inherent in relationships.
Multiple award-winner Choffel was named Indie Artist of the Year at the 2009 Austin Music Awards and won top honors in the John Lennon Songwriting Contest.
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Suzanna Choffel upcoming shows include:
May 13, Saxon Pub, Austin
May 19, The Shady Grove, Austin
May 20, Luna, San Antonio
May 24, Waterloo Records In-Store, Austin
May 28, One World Theatre, Austin (Album Release Show)
June 11, McGonigel’s Mucky Duck, Houston
June 16, Buddy Holly Center, Lubbock

Andrew Belle live on the Lennon Bus in Austin

At SXSW this year, Andrew Belle was invited aboard the Lennon Bus to perform the track that won the John Lennon Songwriting Award for excellence in their pop category. On the Lennon Bus, Andrew recorded an intimate, live version of "The Ladder," which premieres today on Paste.
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After his performances at SXSW and the South Beach Food & Wine FestivalAndrew Belle has returned to hometown Chicago to prepare the limited edition re-release of debut LP The Ladder featuring new music and new artwork and has planned a celebration around the release with his biggest Chicago show to date.
Andrew Belle is a new artist on the pop singer/songwriter scene. Residing in both Chicago and Nashville, he is currently touring clubs and universities across the country, and is also a member of the critically acclaimed national tour Ten Out Of Tenn. Andrew released his debut EP All Those Pretty Lights in 2008, containing songs featured in hit TV shows including “90210”, “The Real World”, “Ghost Whisperer” and “Keeping Up With The Kardashians”.
His debut full-length album The Ladder was released in February 2010 on 1L Music. The Ladder reached #1 on iTunes Singer/Songwriter charts, scored a spot in the Top 100 chart on iTunes and charted in the Top 25 on the Billboard Heatseakers Chart.  His songs have garnered nationwide airplay including Chicago’s WXRT, Nashville’s WRLT, and Los Angeles’ KCRW. Andrew recently was named “Best Breakout Artist, Chicago” by MTV. Recently, Andrew was awarded with the John Lennon Songwriting Award for excellence in their Pop category for the title song off The Ladder. Fans and critics often refer to his songs as “smart pop”—nuanced melodies and sophisticated, contemplative lyrics coupled with bold, infectious hooks.
2009 saw Nashville / Chicago resident Andrew Belle invited out on the second generation Ten out of Tenn Tour and after an overwhelming response on the road, invited out for the Ten out of Tenn Holiday Tour.  Ten Out of Tenn is a diverse and unique community of artists making organic pop music in the shadows of Nashville's slick commercial country music industry on the road supporting each other every night!  The original Ten out of Tenn debuted in 05 with ten musicians who were at the forefront of the vibrant Nashville pop music scene with over thirty albums released between them.