debut

Introducing YELLOWBIRDS from Sam Cohen of Apollo Sunshine

Yellowbirds is the moniker for the latest musical exploits of Sam Cohen--songwriter, guitarist and vocalist in the psychedelic collective Apollo Sunshine.  Next Tuesday, October 12, Yellowbirds will release its debut track "The Rest Of My Life." The song is the first of three to be made available in the coming months, hinting at what's to come as Cohen puts the finishing touches on The Color, a full-length studio recording due in early 2011.

Sam Cohen grew up in Houston, Texas, and while the Texas of his teens may have been home to Big Oil, Enron, the Bush family, and the drab gray Astros jerseys of the 90's, he prefers to think of it as the Texas of yore, home to Roy Orbison, Buddy Holly, the Space Program, and rainbow orange Astros jerseys.  It stands to reason, then, that his current home of New York City must be the mythical Empire City: Rocky Mountains of architecture, epicenter of modern art, home to Charles Mingus and The Velvet Underground.

It was with these timeless inspirations in mind that Cohen created The Color by Yellowbirds, his "solo" debut.  Double-speed auto-harp glissandos, glowing backwards pedal-steel, bubbling echo and fuzz guitars coalesce into a warm wall of sound.  As existential lyrical themes emerge, delivered nonchalantly over psyched-out aural landscapes, the picture emerges of a dust-blown, 4th dimensional Future West.  This is Cohen's quixotic world where "only the purist tones can be heard."

Listen to Yellowbirds'

{play}images/mp3/therestofmylife.mp3{/play}

The Drums' Internationally Acclaimed Debut Out Today

Following a massive wave of critical acclaim, New York City’s own The Drums release their state-side debut on Downtown Records today!  Hailed by Rolling Stone as “one of the best indie pop debuts of the year.” the band is featured on Windows Media Guide and Last.FM Discover today.  The full album is streaming on AOL Spinner and a new special b-side “When I Come Home” is RCRD LBL’s RCRD of the Day” MP3 download today!

The Drums’ spellbinding sound takes inspiration from elements of some of the greatest bands in history from The Smiths to the The Shangri-las and fuses them with the band’s own raw energy and excitement. The rhythm and reverb will force you to dance and the melodies will stay with you after the first listen.

After the release of their debut EP Summertime! and a string of tour dates in the UK, The Drums were listed at #1 on both Clash and NME’s Top Tips of the Year, in addition to being #5 on the BBC’s Sound of 2010 poll. Their live show has been called “explosive” and Jonny Pierce “one of the most magnetic frontmen in years.” The list of supporters is endless but nothing is more convincing than this stellar collection of songs. The last track on the album is entitled “The Future.” Fitting, since it will be full of sounds from The Drums.

You’ve heard the buzz and with the release of the band’s debut album, the songs speak for themselves. The band is currently on a national co-headlining tour with Surfer Blood.  Get ready to listen to the album that is sure to be your end of summer soundtrack.

The Drums/Surfer Blood 2010 North American Tour Dates

9/15: Atlanta, GA @ The Loft
9/17: Orlando, FL @ Social
9/18: Miami, FL @ Grand Central
9/19: Tampa, FL @ State Theatre
9/20 Gainesville, FL @ Common Ground Coffeehouse
9/21: Tallahassee, FL @ Club Downunder
9/23: Houston, TX @ Fitzgerald’s (The Drums ONLY)
9/24: Dallas, TX @  The Loft (The Drums ONLY)
9/25: Austin, TX @ ND (The Drums ONLY)
9/27: Phoenix, AZ @ Clubhouse
9/28 Pomona, CA @ Glass House
9/29: Los Angeles, CA @ The Music Box
10/01: San Francisco, CA @ The Independent (The Drums ONLY)
10/03: Portland, OR @ Wonder Ballroom
10/04: Seattle, WA @ Neumos (The Drums ONLY)
10/05: Vancouver, BC @ The Biltmore Cabaret
10/07: Boise, ID @ Neurolux
10/08: Salt Lake City, UT @ Urban Lounge
10/10: Denver, CO @ Bluebird Theater
10/13: Minneapolis, MN @ The Varsity Theater
10/14: Chicago, IL @ Lincoln Hall
10/16: Toronto, ON @ Mod Club (The Drums ONLY)
10/17: Montreal, QB @ Cabaret du Musee Juste Pour Rire (The Drums ONLY)
10/18: Boston, MA @ Paradise (The Drums ONLY)
10/20: New York, NY @ Webster Hall
10/22: Philadelphia, PA @ Making Time

Ellie Goulding To Release "An Introduction To Ellie Goulding"

Already a success in her native England, 23 year-old UK singer and songwriter Ellie Goulding is scheduled to make her stateside debut with her US debut EP, An Introduction To Ellie Goulding out September 21 on Cherrytree / Interscope. Produced by Starsmith, Goulding’s full length release Lights shot to #1 on the UK chart in March 2010. The focus track, "Starry Eyed" has already received over 10 million views on YouTube.
Ellie has received numerous accolades from her motherland in the form of The Critics Choice Award at the 2010 Brit Awards & topped the BBC sound of 2010 poll.  Goulding’s debut CD has garnered much critical praise. NME calls Lights, “never less than stunning…it marks the emergence of a smart, sincere and talented new pop star,” and Q declares, “There is undeniable greatness afoot here.” After early support slots with Little Boots and Passion Pit, Ellie has just sold out her third UK headline tour. UK festival performances-- Glastonbury, Festival, V Festival, Lovebox and T in the Park--earned her rave reviews.
Described as “electro-folk-acoustic-pop,” Ellie’s songs mix heartfelt emotion with other-worldly atmospherics, spinning electronica into dreamy warmth. If you see her live, you can expect to see her play guitar and drums. Goulding, who will make her maiden voyage to the US in support of An Introduction To Ellie Goulding, is scheduled to perform in Los Angeles at The Roxy on September 28th and in New York on September 30th at Hiro Ballroom. In 2011 Ellie will return stateside to support a special version of her US full length release of Lights.

THE BLACK BUTTERFLIES Tuesday, September 7th 9 PM at NUBLU

While this is just the debut release from The Black Butterflies, a group led by 27-year-old saxophonist Mercedes Figueras, veterans would do well to prick up their ears and take note. The Butterflies deftly blend the Latin rhythms of Figueras' native Argentina with free and post-bop noodling and tantalizing natural-world percussive elements, into full, invigorating music that sprouts, twines and flourishes over the 63-minute span of this entirely satisfying album.

The title track kicks off the record. It is a relaxed, comfortably humid piece that sways from a melodic opening into more forceful strains on the wind of Figueras' sax and swingingly persistent conga thumps. The piece never reaches--nor even strives for--the anthemic quality the title might suggest. Instead, the labor sweats happily, singingly under the sun. Appropriately, the tune--and, thus, the album--takes flight on the crystalline wings of Dan Tepfer's echoing, solo keyboard statement. It's appropriate not only for fashioning a sly musical equivalence to the band's moniker, but by spotlighting in Tepfer one of the group's, well, keys. Tepfer's polished electric tones lace the Latin rhythms and strings them up on a brightly modern line that still never smoothes the crisp, pulsing edges of the traditional beats. As mentioned, it's this facile navigation of divergent musical fields and the ability to rake loose from the passage a lively new hybrid that makes listening to The Black Butterflies so palpably intriguing. Ears laugh at their good fortune.

"Afro Blue," with its inevitable rekindling of saxophonist John Coltrane's spirit, also sparks the ghost of Albert Ayler, the twining sax statements of Figueras and her (even more?) experimental mate, Tony Larokko, rendering the Coltrane vehicle as a mighty, squealing, squawking, melodically impassioned conversation between the lost giants of the avant-garde. The saxophonists pause for a breather midway through, revealing front and center the rolling-thunder percussion the listener's body already knew was there. Tepfer contributes another light yet zinging solo over the drums before backing off to give conga man Bopa "King" Carre, percussionist Fred Berryhill and drummer Kenny Wollesen even more space to break loose and rumble.

The first of Figueras' two original pieces on the album, "Pipi's Blues," follows "Afro Blue" with the type of jumping cadence saxophonist Joe Henderson might have favored with the mid 1960s support of pianists McCoy Tyner or Andrew Hill. Only here Tepfer remains electric, adding the swirling bluesy punch of organist Jimmy Smith, while also not refusing to jut off on Larry Young-like angular departures.

Larokko contributes the next two numbers, "Spiritual Travels" and "Yah-Yah," the first a jolting, percussion-heavy piece full of strong repeated sax figures that again recall the journeys of Ayler. The latter, the album's most experimental piece, evolves from whistles and an array of percussion instruments that erupt into a cacophony of insect and animal noises--nature's nighttime rhythm section--that in turn give way to the African chants that supply the song's title and the singing of Figueras. Her voice is strong yet slightly coarse and splintered like the timbre of her sax, relating in insistent, desperate Spanish the tragic tale of "Los Ojos Azules," a Bolivian song popularized by the late Argentine singer Mercedes Sosa, while accompanied by an increasingly complex and urgent layering of rhythmic human voices and drums. The whole ultimately explodes into a screeching battle of horns--the saxophones' cries themselves sounding almost human at times--that burns out through extended, passionate playing, leaving only the snaps and twangs of nature and the soft, compelling "Yah-yah, Yah-yah" chants of dancers or workers.

Yet, lest it be thought the band has gone irrevocably, unrestrainably tribal, it closes on the infectious Figueras piece, "Music Heals All Wounds," a soulful "Auld Lang Syne" with Caribbean accents. (To belabor the Ayler connection--or to kill it, finally--this most certainly is not "Music Is the Healing Force of the Universe.") Figueras' tune delivers as advertised--a warming salve that demands multiple healing doses on the spot, then lingers, replaying itself for hours in the listener's brain to pleasant, calming effect.

Yes, this is the debut release from a new band whose young leader has issued only one other record under her name, Elefante (2007), a free-improv set from Figueras and drummer Martín Visconti. But make no mistake, 1 de Mayo also happens to be one of the best overall records of 2010.

--

THE BLACK BUTTERFLIES

when: Tuesday September 7th
Time: 9 PM
Where: NUBLU (62 Av C New York, NY 10009)
http://www.nublu.net/

The Black Ryder Announce Tour Dates With The Cult

Straight from the land of OZ, The Black Ryder are set to release their full length Buy The Ticket, Take The Ride on September 21st via Mexican Summer. Harping a comforting 90's sound of rhinestone drone, this amazing record is a true trip from start to finish and will be released digitally, on CD, and vinyl.
Previously released only in Australia in 2009, Buy The Ticket, Take The Ride is chock full of brooding vocals and dark mysterious paths on a pitch black open road. Complimented with comfort by a tambourine beat of dreams, singer Aimee Nash's voice is a soothing romp, effortlessly partnered with guitarist Scott Van Ryper. TBR is a carefully thought out process of melody, sound, texture, time, space, dynamics, mood, and effect. Says Nash "It is a labor of love that is carefully constructed with particular emphasis on melody, harmony, and placement. This makes more sense to me than trying to draw comparisons or categorizing ourselves into any one genre or style of music." Standouts like "All That We See" and "Gone without Feeling"  are psychedelic markers of calm on this strong debut.
Whilst this collection of recorded works was all done by the band themselves, The Black Ryder has had the great pleasure of working with Peter Hayes & Leah Shapiro of Black Rebel Motorcycle Club, and Graham Bonnar (ex-Swervedriver). The band made their live debut on the B.R.M.C Australian tour (January 2008) and have since opened for The Raveonettes, The Brian Jonestown Massacre & The Charlatans.

TOUR DATES
(More TBA)
Sept 14 - 4th + B - San Diego
Sept 16 - Palm - Las Vegas
Sept 19 - Warfield Theatre - San Francisco
Sept 21 - Showbox Sodo - Seattle
Sept 22 - The Knitting Factory - Spokane
Sept 24 - Salt Air Pavilion - Salt Lake City
Sept 25 - Ogden Theatre - Denver

Truth & Salvage Co. Singer/Songwriter Files Suit Against Marriott Hotel Corporation

According to a recent lawsuit filed in Tulare County California, Tim Jones--one of the four singers/songwriters of the musical group TRUTH & SALVAGE COMPANY--was shaken awake and ripped from his bed by hotel security and local police while sleeping at the Marriott Hotel in Visalia, CA.  Jones, a Marriott rewards member and a registered guest staying the night at the Visalia Marriott in February 2010,  was handcuffed, assaulted, taken to jail and cited for trespassing and resisting arrest in his own hotel room after performing at a concert earlier in the evening. In the wake of the assault and imprisonment, Jones filed suit against Marriott Hotel Corporation on four counts, including negligence, negligent supervision, assault and battery.

Ironically, Marriott Hotel's slogan is, "Your home away from home." Tim Jones learned the hard way that Marriott's slogan is nothing more than that, simply a slogan. Instead of spending the night in his hotel room, the singer/songwriter was forced to spend the night in a Visalia jail cell. Jones was finally released at noon the following day.

Following the incident Jones said, "I was shocked by the break-in and arrest.  I kept telling them that I was a registered guest but they acted as if they couldn't hear a word I was saying."

One month after the incident, Jones was set to be arraigned in the Tulare County Superior Court. Legal representatives of the band arrived at the courthouse to answer for Jones, only to find that the District Attorney's office had not filed any charges against Jones.  To date, charges have not been filed and Visalia Police have refused to release the police incident report to the Los Angeles based Jordan Law Group, PLC; the Truth and Salvage legal team.  Attorney Vahe Jordan was quoted as saying "We’re hopeful that Marriott will accept responsibility for the way they treated Jones, who has been a loyal customer for many years."

Marriott experienced a public relations nightmare last year that spread in blogs, stemming from the legal position their Stamford, Connecticut franchisee attorneys took when a woman brought suit citing security shortcomings after being raped in the presence of her two children while in a parking structure located at the Stamford Marriott Hotel and Spa.  Court documents filed by the Marriott franchisee attorneys last year state the victim "failed to exercise due care for her own safety and the safety of her children and proper use of her senses and facilities."  The defense was viewed by many as blaming the victim.  Marriott later dropped that defense.

As for Jones, he did not have any outstanding warrants; he wasn't suspected of, nor accused of, any crime prior to being violated by Marriott Security staff and the Visalia Police. He later received medical treatment for injuries sustained during the arrest.

Currently, Tim Jones and his band Truth & Salvage Co. are touring the United States in support of their self-titled debut album (Megaforce Records/Silver Arrow Records) which was released in May of this year and was produced by Chris Robinson of The Black Crowes.  Truth & Salvage Co.--set to make their national television debut on ABC’s “Jimmy Kimmel Live” this Thursday, August 19--was cited as a “Top 10 Band To Watch This Summer” by USA Today and Rolling Stone said the band “has what it takes for the long haul.”  Their album was given 4½ stars by Glide.com, which noted, “Truth and Salvage is an explosion of Americana and sweaty Rock-n-Roll that comes off more like a greatest hits album than a debut...set to become an instant classic."

An Evening with Charlie Hunter, Thurs Sept 9 @ the Fox Theatre

As a young guitarist growing up in the San Francisco Bay Area, Charlie Hunter was looking for a way to stand out in the '80s. His primary influences were jazz great Joe Pass and the fluid Tuck Andress, (of the guitar/vocal duo Tuck & Patti), both six-string guitarists who were adept at blending bass notes into their standard guitar melodies to make themselves sound like two musicians at once. But Hunter wanted to take it one step further, and set out to find an instrument on which he could simultaneously function as both a guitarist and a bassist. For his self-titled 1993 debut CD, Hunter played a seven-string guitar for the duality effect, locking down the bottom with drummer Jay Lane and mixing melodically with saxophonist David Ellis. But on his trio's 1995 sophomore release, "Bing, Bing, Bing!," Hunter unveiled his custom-made Novax eight-string, the guitar that finally allowed him to realize his capacity. Designed by Ralph Novak, the instrument featured special frets and separate signals for its guitar and bass portions. Picking bass notes with his right thumb while fretting them with his left index finger (while at the same time fingerpicking guitar chords and single notes with his right hand's remaining four digits as he frets with his left hand's other three fingers), Hunter achieves the real sound of two-for-one.

Hunter played with the side group T.J. Kirk in the mid-'90s, a band that derived their name from the cover material they exclusively played: Thelonious Monk, James Brown and Rahsaan Roland Kirk. Initially wanting to call themselves James T. Kirk before being threatened by the Star Trek TV and film series, T.J. Kirk released a self-titled 1995 debut and the 1996 follow-up, "If Four Was One", before disbanding. Hunter took drummer Scott Amendola with him for his next project, an ambitious instrumental remake of Bob Marley's "Natty Dread"album in its entirety. Also featuring saxophonists Kenny Brooks and Calder Spanier, the 1997 release beat the odds by becoming arguably Hunter's best album. After Spanier died from injuries sustained from being hit by a car, Hunter moved east to New York, taking Amendola with him. Teaming with vibraphonist Stefon Harris and percussionist John Santos, Charlie Hunter & Pound for Pound's 1998 CD Return of the Candyman is dedicated to Spanier. A departure from Natty Dread, mainly due to the work of Harris, the disc featured a vibes-heavy cover of Steve Miller's "Fly Like an Eagle."

Hunter's modus operandi had now become shifting personnel changes, and in between tours he recorded a 1999 duo CD with drummer/percussionist Leon Parker and a self-titled 2000 CD that featured Parker and an otherwise ensemble cast. Hunter also contributed greatly to the 2000 comeback CD by drummer Mike Clark, "Actual Proof". Hunter concluded his run at Blue Note with 2001's "Songs from the Analog Playground", which saw him collaborating with vocalists for the first time, ranging from labelmates Norah Jones and Kurt Elling to Mos Def. 2003 found Hunter with a new label (Ropeadope) and two new bands (the Charlie Hunter Quintet) on "Right Now Move" and the beginning of Groundtruther, a partnership with percussionist/composer Bobby Previte.  They released "Come in Red Dog, This is Tango Leader" before adopting the Groundtruther moniker. For 2003's "Friends Seen and Unseen",  it was back to the Charlie Hunter Trio, with drummer  Derrek Phillips and saxman John Ellis, both members of the Quintet. By now, Groundtruther had taken on a life of its own, with Hunter and Previte joined by a rotating third member.  "Latitude" was first, in 2004 with saxophonist Greg Osby, followed by "Longitude" with DJ Logic in 2005.

In 2006, the Charlie Hunter Trio resurfaced with "Coperopolis" and almost immediately announced that it was disbanding as Ellis wanted to further pursue a solo career. What to do? Form another trio! After recruiting Erik Deutsch on keys and Simon Loft on drums, they released "Mistico" in the summer of 2007, Hunter's first album for Fantasy.

All Ages / GA  / $15.00 adv / $20 DOS

Internet 24-7 at www.foxtheater.com

Phone: During box office hours: 303.443.3399

UK's Everything Everything On UK Tour Now / Look Out For US Fall Tour

Imagine a band who fuse three part harmonies with scalding post-punk guitars; floor-filling bass lines with syncopated rhythms and lyrics about everything from high-school massacres to R&B lotharios musing on their lot in a post-apocalyptic wilderness.

Not easy, is it? But then Everything Everything aren’t here to make life easy. They’re here to challenge every knee-jerk convention of indie rock and dance on the grave of pointless retrogression.

Chances are you’ve come across EE before. Chances are they perplexed, intrigued and if you’ve an ear for something special, they excited you. They first accosted our senses with ‘Suffragette Suffragette’ in Dec 08, followed by ‘Photoshop Handsome’ in May and third single ‘MY KZ, UR BF’ in Oct 09.

Having whipped up interest in all quarters via these low key releases (they’ve acquired fans ranging from Zane Lowe to 6Music’s Marc Riley, played two UK tours- including an advance sold out ICA show as an unsigned band, notched up a top spot on MTV2’s My Space Chart and been tipped by the likes of NME and Times Culture), they signed to Geffen Records in late 2009.

Schoolin is the first single to be taken from their recently completed, David Kosten co-produced debut album (title tbc) due for release in August. It seems set to be the breakthrough debut album of 2010.

After a hugely successful NME tour and supports slots with Delphic, the band are now poised for their biggest festival season yet, showcasing their amazing live set throughout Europe and Japan. EE are so far confirmed to play Reading & Leeds, Glastonbury, Latitude (headlining the Lake Stage) and Bestival.

The Undertones reissued digitally in the U.S.

The Undertones emerged from Derry, Northern Ireland, in 1977, as part of the U.K. punk and new wave scene. Inspired by radio, records and the Ramones, five Derry teens (Feargal Sharkey, brothers John and Damian O’Neill, Billy Doherty and Mickey Bradley) had never been in bands before. Straight out of a local pub, The Casbah, the band recorded Teenage Kicks, their debut EP, which caught fire on John Peel’s BBC Radio One show and got them signed to Sire Records in the U.S.  “Less interested in fashion, anarchy, or politics than in the heady joys of a great pop song, they fused irresistible, hooky tunes with the fierce passion of teenage rock & roll believers, and came up with a handful of instant classics,” observed All Movie Guide’s Mark Deming.

On June 28, 2010, Union Square Music will make the Undertones’ four albums available digitally. Included will be The Undertones (1979), Hypnotised (1980), Positive Touch (1981) and The Sin of Pride (1983), the Teenage Kicks EP, as well as a never-before-released Best of the Undertones compilation.

The digital-only reissues will be available at iTunes.

The Undertones: Appearing in both the Q magazine list of the “100 Greatest British Albums Ever” and the book 1001 Albums You Must Hear Before You Die, The Undertones' debut LP is a bone fide pop-punk classic. The lead track “Teenage Kicks” has long been regarded as one of the purest expressions of teenage punk pop and has been covered by everyone from KT Tunstall to Green Day. It was also famously U.K. DJ John Peel's favorite record ever. Signed to Seymour Stein’s Sire records in 1978, the band had not originally planned to make an album but after seeing many of their contemporaries —The Sex Pistols, The Clash etc. — make successful albums, they decamped to Eden Studios in West London to record the songs they had been playing in their legendary Friday night gigs at the Casbah. As the bassist Michael Bradley says, there was “No plot, no theme, no parodies of any genre.” The Undertones’ 1979 debut is an off-the-cuff collection from five Londonderry kids with nothing to lose.

Hypnotised: As critically acclaimed and as commercially successful as the Undertones debut LP, Hypnotised featured both the classic three-minute pop punk of its predecessor (check “My Perfect Cousin,” “There Goes Norman” and “Whizz Kids”) while highlighting a newfound maturity and sensitivity with tracks like the plaintive “Wednesday Week” and stately “The Way Girls Talk.” Recording in the tranquil surroundings of the Wisseloord Studios in Hilversum in the Netherlands (three band members would cycle to the studios every day) so relaxed the band that they weren’t overly concerned that they didn’t have enough songs for the album until the producer Roger Bechirian suggested that “I can ask that chap from the Rumour to write some for you.” Back in Londonderry, the O'Neill brothers came up with three more songs — “Wednesday Week,” “Tearproof” and “More Songs About Chocolate and Girls,” an homage to the Talking Heads’ More Songs About Buildings and Food. “More Songs . . .” would open the album and define the appeal of the band with its much-quoted line: “Sit down relax and cancel all other engagements, it's never too late to enjoy dumb entertainment.”

Positive Touch: Bassist Michael Bradley admits that despite the commercial success of Hypnotised, the Undertones were bored musically by the time they reconvened in the Wisseloord studios in Netherlands to record Positive Touch. Freed from their contract with Sire, they started recording without a record deal, enabling them to experiment without any executives breathing down their necks. If the band’s debut album was influenced by what they’d been listening to in O’Neill’s front room, then Positive Touch came out of what they’d been listening to since, with influences as diverse as the Stones, Motown, Orange Juice and Dexy’s Midnight Runners. Melody Maker declared the resulting 14 songs to be “one of the truly classic pop albums of all time.”   

The Sin of Pride: For the Undertones’ fourth and final album the band demoed the songs in a home-built studio in Londonderry. As bassist Michael Bradley recalls, “When I say ‘build,’ I mean we went out and bought the wood, and the nails, and cobbled together a small hut. Then we sent away to HHB for a Fostex 8-track and a bunch of microphones. Feargal, being the most technically minded, looked after the recording.” The band weren’t happy with the results and neither were their label EMI with the final album produced by Mike Hedges (of Cure and Wah fame). Lacking the pop punk of the band’s debut album, The Sin of Pride has its merits: NME described it as “an immaculate conception of pop” but the album was not a commercial success and tensions with Feargal soon lead him to leaving the band.   

Best of the Undertones: This never-before-released compilation contains the songs for which the Undertones are best noted: “Teenage Kicks,” “Get Over You,” “Here Comes the Summer,” “”You’ve Got My Number (Why Don’t You Use It),” “My Perfect Cousin,” “Wednesday Week,” “It’s Going to Happen,” “Julie Ocean,” “Beautiful Friend” and “The Love Parade.”

Teenage Kicks EP: In a move to bring back the EP, quintessential to the development of punk and new wave, Union Square will offer the original Teenage Kicks EP from 1978 featuring the hit “Teenage Kicks” along with “Smarter Than U,” “True Confessions” and “Emergency Cases.”

San Francisco's BIG LIGHT Announce Summer Tour Dates

San Francisco's Big Light will tour this summer in support of their debut album, Animals In Bloom. The dates mark the furthest the band has pushed outside their hometown in a short three year history. And with good reason. Big Light has made a timeless rock and roll record that demands to be heard beyond the Bay Area. The album's 12 tracks spill over with fuzzed-out guitars, artful lyrical observations and stirring garage pop psychedelia. Hailed as one of the most promising young rock bands in San Francisco, Big Light are now setting their sights on the rest of the country.

Forming circa 2007 as a vehicle for aspiring singer/songwriter/guitarist Fred Torphy to get his songs into the world, BIG LIGHT spent the next three years developing their sound and performing around the West Coast relentlessly. Climbing the S.F. club circuit quickly, they went from playing bar gigs like Bottom of the Hill to headlining The Independent to support slots at the legendary Fillmore sharing bills with the likes of Spoon, Broken Social Scene and Dead Confederate among others. A hit on the festival circuit as well, Big Light has previously performed at Outside Lands, Noise Pop and Wanderlust. On this upcoming tour, they're set for another run of summer festivals, including High Sierra, Summer Camp and Bobolink.

With its debut album, Animals In Bloom, Big Light has crafted a record that has enough indie pop charm to land on the radio, but is adventurous enough to engage those who are looking for more than hooks. Headphone junkies and audiophiles themselves, they've created a "listening experience" that never feels fake or dishonest. Experiencing the new album and watching the band evolve at such a rapid rate onstage, one gets the feeling that Big Light is poised to shine bright for years to come.

Upcoming BIG LIGHT tour dates are:

May 29 | Summer Camp Music Festival | Chilicothe, IL
May 30 | Beat Kitchen | Chicago, IL (w/ Van Ghost)
June 3 | Starry Plough | Berkeley, CA (w/ Nathan Moore)
June 4 | Cater Ranch Music Festival | Bootjack, CA
June 5 & 6 | Bobolink Music Festival | Belden, CA
June 11 | TBD | Providence, RI
June 10 | The Saint | Asbury Park, NJ
June 11 | Brooklyn Bowl | New York, NY (w/ Rotary Downs)
June 12th | Middle East | Boston, MA (w/ Holly Golightly)
June 16th | Humboldt Brew | Arcata, CA (w/ Wendy Darling)
June 17th | High Dive | Seattle, WA (w/ Wendy Darling)
June 18th | Mississippi Studios | Portland, OR (w/ Wendy Darling)
June 19th | Gem State Jam | Boise, ID
July 1-4 | High Sierra Music Festival | Quincy, CA
August 4th | Independent | San Francisco, CA (w/ Apollo Sunshine)
August 26th | Rocks off Boat Cruise| New York, NY (w/ American Babies)