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The Asteroid No.4 – Northern Songs (Little Cloud Records / Cardinal Fuzz 18 September 2020)

California-based psych-rock legends The Asteroid No.4 to release ‘Northern Songs’ LP

Psychedelic rock / power pop legends The Asteroid No.4 will release their new album ‘Northern Songs’ LP on September 18. This much-anticipated collection of tracks will be released through a partnership with UK-based Cardinal Fuzz Records and Portland’s Little Cloud Records.

Stalwarts of the modern ‘psych’ genre, they are known for their prolific discography of reverb-drenched recordings and liquid-projected live performances. With a sound all their own and neo-psychedelic / shoegaze learnings, they are often compared to acts like Spacemen 3 and Paisley Underground kingpins The Rain Parade.

This new track comes on the trail of singles ‘Swiss Mountain Myth’‘The After Glow’ and ‘Northern Song’.

Now based in the San Francisco Bay Area, The Asteroid No.4 originated in Philadelphia in the latter half of the 1990s and gradually began to relocate westwards in 2011. After several lineup changes, for the last decade, the band has been foundationally comprised of Scott Vitt (vocals, guitar), Eric Harms (guitar), Adam Weaver (drums, vocals) and Matty Rhodes (bass, vocals).

‘Northern Songs’ is the band’s tenth full length record, following up the ‘Collide’ LP in 2018. Here, the 12-string folk-rock jangle of the mid-60’s Byrds is overlaid with the washed-out vocal harmonies of Ride and topped off with psychedelic drones familiar to Spacemen 3. This is a hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic.

On this new album, they did all writing, playing, recording, mixing and mastering in their own studio. This is the first time they’ve gone fully DIY since their fourth album ‘An Amazing Dream’ (2006), where the band finally found their own trademark sound.

“This is a first for us as we’ve always had at least guest musicians or someone else mix or master. It was an experiment on what we could do ourselves and testing our new studio in San Rafael, CA for the first time. Our sound is primarily rooted in the British indie music from the 80s and 90s. This is the music we grew up on, we still listen to today, and what happens as a natural result of our songwriting,” says Scott Vitt.

“Lyrically there’s reference to what is happening both socially and politically in the world around us. We wanted to make an album that brought an air of calm or even nostalgia, to remind people that there was a time, not all that long ago, when things seemed way more normal compared to what we’re experiencing today.”

A dynamic live act, The Asteroid No.4 integrate multi-textured guitars and reverb-drenched vocal harmonies over an unwavering rhythm section. Their prolific output has earned them a dedicated fan base within the flourishing underground psychedelic scene, with over a dozen compilation appearances, digital-only rarity releases, and multiple singles and EPs.

Named after Vesta, the brightest asteroid in our solar system, their moniker is an obvious nod to Spacemen 3, one of the band’s main influences. In fact, one of the group’s earliest recordings was a faithful cover of their ‘Losing Touch with My Mind‘. Released via UK label Rocket Girls tribute compilation to the 80’s legends, Pete ‘Sonic Boom’ Kember himself named the song as a stand-out track in an interview with Magnet Magazine.

As of September 18, the ‘Northern Songs’ LP will be available digitally online, including via Apple Music, Spotify and directly from the band via Bandcamp and their own website. 

Keep up with The Asteroid No.4
Website | Facebook | Bandcamp | Instagram | Twitter | YouTube | Soundcloud | Spotify | Apple Music | Booking USA | Booking UK/Europe | Press contact

Keep up with Little Cloud Records
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Keep up with Cardinal Fuzz Records
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Posted by on September 18, 2020 in Psychedelic, Rock

 

Vanilla Fudge – Immigrant Song (cover) Golden Robot Records 22 September 2020

Vanilla Fudge  release remastered cover of Led Zeppelin’s ‘Immigrant Song’ on 22nd September on Golden Robot Records.

Immigrant Song by Led Zeppelin is one of the monster tracks of all time. How do you top that? Well, you can’t but we decided to just have fun with it. I came up with this On Green Dolphin Street kinda chord progression as the intro on the synth with a heavy-duty brass sound that worked pretty well. The guys fell into it right quick and it rocks the house. Carmine did a great job with the drum track and Tim and Vince killed it. I did the vocals in Florida and sent it back to Carmine in Los Angeles and he mixed it. Hope you dig it.”
– Mark Stein 

Τhey will also be releasing a new album in 2021, The Supreme Vanilla Fudge, which will see them re-work 10 songs from the legendary The Supremes done in the classic Fudge way. The Supreme Vanilla Fudge will feature all 4 original members: Mark Stein, Carmine Appice, Vinnie Martel and Tim Bogert (who no longer tours but will appear on a few tracks on the record) along with touring bassist Pete Bremy.

Vanilla Fudge was one of the first American groups to infuse psychedelia into heavy rock sound to create “psychedelic symphonic rock” an eclectic genre which would, among its many offshoots, eventually morph into heavy metal.

Although, at first, the band did not record original material, they were best known for their dramatic heavy, slowed-down arrangements of contemporary pop songs which they developed into works of epic proportion.

Originally, Vanilla Fudge was a blue-eyed soul cover band called The Pigeons, formed in New Jersey in 1965 with organist, Mark Stein, bassist, Tim Bogert, drummer, Joey Brennan, and guitarist, vocalist and US Navy veteran, Vince Martell. They built a following by gigging extensively up and down the East Coast and earned extra money by providing freelance in-concert backing for hit-record girl groups. In early 1966, the group recorded a set of eight demos that were released several years later as “While the World Was Eating Vanilla Fudge”.

The East Coast, in particular, New York, and New Jersey, created a sound all its own. Inspired by groups such as The Rascals and The Vagrants (fronted by guitarist, Leslie West of “Mountain” fame), The Pigeons reworked many of their own existing arrangements of covers to reflect their unique interpretation of this “East Coast Sound”.

In late 1966, drummer, Joey Brennan, moved out to the West Coast; The Pigeons immediately drafted drummer and vocalist, Carmine Appice, a disciple of the renowned Joe Morello (Dave Brubeck Band) and a seasoned veteran of the club scene. In early 1967, The Pigeons manager, Phil Basile, convinced producer, George “Shadow” Morton (producer for The Shangri-Las and Janis Ian), to catch their live act. Impressed by their heavy-rocking, trippy and psychedelic version of The Supremes’ You Keep Me Hangin’ On, Morton offered to record the song as a single. This resulted in a deal with the Atlantic subsidiary Atco, which requested a name change. The band settled on Vanilla Fudge.

Vanilla Fudge celebrated their 50-Year Anniversary in 2017 and is still rocking the world as hard as ever.

Pre-order/pre-save Immigrant Song HERE 

Here is the band playing live another Zep song in Bayonne NJ in 2018

 
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Posted by on September 16, 2020 in Rock

 

SKAM – Green Eyes (X Ray Records 21 September 2020)

UK rock trio SKAM release their new single ‘Green Eyes’ on 21st September via X-Ray Records.

‘Green Eyes‘ is the first release from their forthcoming EP, which combines the familiar SKAM power with melodic choruses to showcase a significant step forward by the band. The song’s focus is on jealousy and how the grass can look greener on the other side of the fence, but to overcome it, you need to suck it up, swallow it down, and concentrate on your own life.

Combining an early Def Leppard crunch with the melodic touch of the Foo Fighters and the grit of Rival Sons – SKAM are set to rise to prominence.

ABOUT SKAM
Formed in 2011, SKAM are a hard rock power trio band from the middle of England.  They have a reputation for delivering no nonsense, gutsy, classic sounding British rock music.Over the last 9 years, the band have worked tirelessly to build a solid following in the UK, and now they are widely considered to be at the forefront of the ‘New Wave of Classic Rock’ movement that is currently sweeping the nation.

To date, the band have independently released 3 albums. ‘It’s Come to This’ (2011) and ‘Peacemaker’ (2014) were released to critical acclaim and the band established themselves as a live force to be reckoned with. The band have hit road with The Answer, Airbourne, Skindred, The Quireboys, and GUN to name a few and are considered a formidable live act.

A drive to innovate inspired SKAM to release ‘The Amazing Memoirs of Geoffrey Goddard’ (2017), a concept record based on the diary entries of a time travelling RAF pilot.
The songs were described as ‘gritty anthemic rockers’ by Classic Rock Magazine and the album received a number of 5-star reviews from the UK Music press. SKAM don’t write songs to a formula, they write songs as rock fans, trying to capture what they would want to hear.

Lead single ‘Take it Or Leave it’ was voted as ‘track of the week’ by Classic Rock Magazine and has since been included on Earache Records ‘New Wave of Rock N Roll’ compilation vinyl.

Steve Hill – Guitars – Lead Vox
Matt Gilmore– Bass – Backing Vox
Neal Hill – Drums – Backing Vox

Discography:
Its Come To This – Album 2011
Peacemaker – Album 2013
SKAM: LIVE – Album 2017
The Amazing Memoirs of Geoffrey Goddard – Album 2017

https://www.facebook.com/SKAM.UK/
http://www.skamuk.com/
https://twitter.com/SKAM_UK
https://www.instagram.com/skamuk/

 
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Posted by on September 2, 2020 in Rock

 

Jim McHugh – Should Have Lied (August 14)

Should Have Lied is the newly minted single from Co.Monaghan singer songwriter Jim McHugh. The indie rocker is back with his first taste of his forthcoming 3rd album.

In an original twist on the age-old song of apologetic remorse, ‘Should Have Lied‘ unveils the singer’s regret following a misguided act of truth telling. With a catchy melody and driving rock & roll licks, the song will have listeners grooving and shaking along to this unabashed story of a romantic blunder.

Being his first offering of new music since the release of his highly praised album My Nuclear Radio in 2019, McHugh picks up where he left off with his own unique blend of rock, indie and traditional styles.

From the Farney drumlins of Co. Monaghan, Ireland, multi-instrumentalist Jim McHugh drew upon his past and recent musical experiences to record his debut album entitled ‘Noise Machine’ in 2016, nicely summed up by Pete Whalley as ‘Indie folk-driven rock that has a vibrant beating heart’.

Jim’s second album ‘My Nuclear Radio’ followed in 2019 and gained Jim more recognition with singles added to RTE 1 Recommends and getting Album Of The Week at KCLR.

Should Have Lied features Paul McCabe on Bass, Butch McNeill on Drums and Alex Borwick on Trombone.

Jim will perform a special Facebook live online gig to celebrate the release on August 21st.

Keep Up with Jim McHugh

Facebook / Twitter / Instagram / Website

 

 
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Posted by on August 21, 2020 in Rock

 

Death Valley Girls – Under the Spell of Joy (Suicide Squeeze 2 October 2020)

While studies have been conducted aiming to understand the science behind music, our inexplicable ability to tap into the emotions of another human being by way of arrangements of sonic frequencies still seems a bit like magic. LA’s Death Valley Girls have always sought to wield that magic like ancient mystics, creating psychic bonds with willing ears through the medium of their fiery rock n’ roll.

On the surface, previous albums like Glow in the Dark and Darkness Rains were rowdy mash-ups of early American punk, sun-baked psych rock, and proto-metal fire-and-brimstone guitar worship, yet there was always an undercurrent of some kind of strange, celebratory communal ritual in their music. With their latest album Under the Spell of Joy, the band dives even deeper into that magical cosmic energy.

The album title Under the Spell of Joy comes from the text on a t-shirt from San Diego heavy psych rockers Joy that was handed off to Death Valley Girls’ vocalist/guitarist Bonnie Bloomgarden, who wore the shirt for five years straight, treating it like a talisman. “I read it as being about manifesting your biggest dreams and responding thoughtfully and mindfully to everything that comes in your path with joy and compassion first,” Bloomgarden explains. “There is a lot to be really angry about in the world but joy is just as powerful if used correctly!” The band sought to create a spiritual record—what Bloomgarden describes as a “space gospel”—with the intention of bringing people together and creating the kind of participatory musical experience people have in places of worship. It’s a record loaded with chants, choirs, and rousing choruses, all for the purpose of encouraging people to sing along. Where the band had once sought to connect people through more esoteric means, they now tap into the age-old tradition of uniting people by inviting them to be an active part of the music.

While Bloomgarden and guitarist Larry Schemel knew their intention for the album before a single note was written, the actual nature and direction of the music was a mystery. The initial inspiration for the record came from the jubilant spirit of Ethiopian funk records the band had been listening to on tour, but once they began to channel the songs it seemed like the music came from somewhere not in the past but in the future. In the weeks leading up to recording, Death Valley Girls relied on their subconscious and effortlessly conjured Under the Spell of Joy’s eleven tracks as if they’d tapped into the Akashic Chronicle and pulled the music from the ether.

The album opens with “Hypnagogia,” an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band’s choral objectives for Under the Spell of Joy are established right off the bat, with Bloomgarden’s melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark. The portentous simmer of the opening track yields to the ecstatic rocker “Hold My Hand,” where verses reminiscent of Velvet Underground’s “I’m Waiting For The Man” explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children’s choir chanting the album’s primary mantra “under the spell of joy / under the spell of love.”

Death Valley Girls have always vacillated between lightness and darkness, and on “Bliss Out” they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on “The Universe,” where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you’re looking for transcendental rock music, look no further.

The world is crazy right now and it feels like we should be doing more than just trying to perpetuate joy,” Bloomgarden says. “I think music becomes a part of you. Like Black Sabbath’s first record is as much a part of me as my own music. I think you can listen to music or song to get lost in it, or you can listen to music to find something in your self or the world that either you never had or just went missing. I want people to sing to this record, make it their own, and focus on manifesting their dreams as much as they can!

Suicide Squeeze Records is proud to offer up Death Valley Girls’ Under the Spell of Joy to the world on October 2, 2020 on CD/LP/CS and digital formats. First vinyl pressing is limited to 1500 copies (1200 on gold, 300 on label-exclusive silver).

 

Nigel Lewis talks about his album “A Head Full of Ghosts & Memories”

After performing in various bands playing various genres of music from Pop/Rock to Punk/New Wave, Nigel Lewis released in June 2019 his debut album “A Head Full of Ghosts & Memories” containing 12 self-penned songs on the Audio Vendor record label through Tu-Kay records. You can find Nigel “out and about” with a 6 string acoustic performing at open mic nights, gigs, festivals & other musical events. Pete Dennis managed to meet him and do the following interview.

Peter Dennis: What are your earliest musical memories?
Nigel Lewis: Listening to the radio in our kitchen in the late 1960’s to music of that era.

Peter: What was the first music or artist that captured your imagination?
Nigel: David Bowie because his music and dress sense were totally different to other artists especially at the beginning of the 1970’s. One of the first albums I listened to was The Man Who Sold the World. It blew me away. Artists that inspired me to write and perform cut across all genres of music. Ray Davies, Lennon & McCartney,Gary Brooker, Paul Weller, Elvis Costello, Neil Finn, Kate Bush, Leonard Cohen, Suzanne Vega, Bob Dylan etc. So many more. I also have great respect for classical composers such as Elgar, Vaughan Williams, Tchaikovsky etc.

Peter: Can you tell me about your early forays into music. First bands and early gigs etc…
Nigel: I learnt a few chords from a mate on a cheap acoustic guitar and gigged a bit with his band as a favour in return. Just performing popular covers. I then started writing with another mate and joined his punk band in early 1980’s. We were called “Unsung Heroes” but again eventually we all went our own way as bands tend to do. After that I took a different direction covers from 1960’s & The Jam with a newly formed band named
The Network and after several changes in line up and names we became we became known as Initial Motion. This was the first time I started to take songwriting seriously and we ended up dropping all covers and performing only original material. It was also the first time I met bassist Simon Lockyer who I later worked with again when I joined Punk/New Wave covers band SO77 in 2011. After Initial Motion disbanded in late 1985 I continued to write but did not do much solo performing. Being a solo artist was harder in those days to get gigs and no open mics. I took a substantial break from music and performing for a number of years. I did continue to write on and off.

Peter: Your current incarnation as a singer/songwriter is markedly different than your previously singing in a punk covers band. Was it a big leap from raucous punk to acoustic songs? Or was it a smooth transition?
Nigel: I had started to attend a few open mics prior to finally leaving SO77 and I must admit as I was previously lead vocalist in the band it took some getting used to performing on my own and having to reaquante myself with the guitar for live performances.
I had also reignited the spark to write songs that are more personal to me. I ocassionally perform some covers in my set. My preference is to perform and record my own compositions.

Peter: From writing to release how long did it take for the album to come to fruition?
Nigel: Some of the songs were written in the late 1990’s, however the majority were recently written. I started recording the album at “Tu-kay records” in July 2018 and it was completed in June 2019.

Peter: The coast is a recurring theme in your lyrical writing. Do you find it inspiring? If so why? From where else do you draw lyrical ideas?
Nigel: I love my country, it’s rich history, coastline and countryside. The album is not only a reflection of true life events that have played a part in my life it hopefully captures places I have lived, visited and have left their imprint on my life.

Peter: I detect a little Ray Davies in your descriptive lyrics. Fair comment? What other artists influence your lyrics?
Nigel: Fair comment. There are too many artists to mention as previously mentioned.

Peter: What musical influences (if any) helped shape your album?
Nigel: I guess some of the artists I have already mentioned although as a songwriter you want the sound to be fresh and new I don’t think it matters if listeners believe it falls under a certain genre or category. If listeners like the album, and they engage with the songs then that’s a job well done.

Peter: Can you tell me about the recording process: where, when and how…
Nigel: We started recording the album in in late July 2018 and it was completed in June this year. The album was reccorded at Tu-kay records in Stoke Bruerne. Ash Tu-kay Woodward produced the album and he did a cracking job. He came highly recommended. A guide vocal and acoustic guitar were laid down first then other instruments and backing vocals were added.

Peter: How about the musicians you recorded with? Did you have good a chemistry in the studio? Rebecca Ryan appeared on several songs. Do you feel your voices work well together?

Nigel: Ash & myself played the instruments on the album. We had a fantastic time in the studio. Great atmosphere and we found time to mix work with banter & laughter. Working with Ash and Rebecca was a pleasure. It’s fair to say I have learnt a lot from the experience. I consider them good friends. Rebecca’s vocals work really well on the songs and she is an incredible vocalist.

Peter: Now the record has been released for a few months how do you feel? Is there anything you’d go back and change?
Nigel: I can honestly say I wouldn’t change anything. It would have been nice to include more songs, but you have to set a limit and budget.

Peter: What are your future musical plans?
Nigel: The next project for next year is a website, currently writing more songs for recording next year. More live performances. I really love what I do and I feel very privileged.

Peter: Where can people find you on social media?
Nigel: They can currently me on Instagram at nigelhatlewismusic and my music page on Facebook is nigellewissinger/songwriter. If people go to my Facebook page they can find alternative contact details.

 

 
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Posted by on July 23, 2020 in Folk, Rock

 

The Asteroid No.4 – The After Glow (Little Cloud Records 19 June 2020)

U.S. psych-rock stalwarts The Asteroid No.4 announce new album, preview ‘The After Glow’ single

Psychedelic rock legends The Asteroid No.4 have announced their forthcoming album ‘Northern Songs’, to be released later this summer via a partnership with UK-based Cardinal Fuzz Records and Portland’s Little Cloud Records. Ahead of this, they present their new single ‘The After Glow’.

Here, the 12-string folk-rock jangle of the mid-60’s Byrds is overlaid with the washed-out vocal harmonies of Ride and topped off with psychedelic drones familiar to Spacemen 3. This is a hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic.

Now based in the San Francisco Bay Area, The Asteroid No.4 originated in Philadelphia in the latter half of the 1990s and gradually began to relocate westwards in 2011. After several lineup changes, for the last decade, the band has been foundationally comprised of Scott Vitt (vocals, guitar), Eric Harms (guitar), Adam Weaver (drums, vocals) and Matty Rhodes (bass, vocals).

‘Northern Songs’ is the band’s tenth full length record, following up the ‘Collide’ LP in 2018. On this new album, they did all writing, playing, recording, mixing and mastering in their own studio. This is the first time they’ve gone fully DIY since their fourth album ‘An Amazing Dream’ (2006), where the band finally found their own trademark sound.

“This is a first for us as we’ve always had at least guest musicians or someone else mix or master. It was an experiment on what we could do ourselves and testing our new studio in San Rafael, CA for the first time. Our sound is primarily rooted in the British indie music from the 80s and 90s. This is the music we grew up on, we still listen to today, and what happens as a natural result of our songwriting,” says Scott Vitt.

Considered stalwarts of the modern ‘psych’ genre, they are known for their prolific discography of reverb-drenched recordings and liquid-projected live performances. With a sound all their own and neo-psychedelic / shoegaze learnings, they are often compared to acts like Spacemen 3 and Paisley Underground kingpins The Rain Parade.

“‘Northern Songs’ is a nod to us now being a Northern California band and finally settled in our new home and studio. Even with our past two albums, both released while we were CA residents, there was still a song or fragments that were carried from when we were still in Philadelphia. This is our first west coast record through and through,” says Scott Vitt.

“Lyrically there’s reference to what is happening both socially and politically in the world around us. We wanted to make an album that brought an air of calm or even nostalgia, to remind people that there was a time, not all that long ago, when things seemed way more normal compared to what we’re experiencing today.”

Known as a dynamic live act, The Asteroid No.4 integrate multi-textured guitars and reverb-drenched vocal harmonies over an unwavering rhythm section. Their prolific recording output has earned them a dedicated fan base within the flourishing underground psychedelic scene, with over a dozen compilation appearances, digital-only rarity releases, and multiple singles and EPs.

Named after Vesta, the brightest asteroid in our solar system, their moniker is an obvious nod to Spacemen 3, one of the band’s main influences. In fact, one of the group’s earliest recordings was a faithful cover of their ‘Losing Touch with My Mind‘. Released via UK label Rocket Girls tribute compilation to the 80’s legends, Pete ‘Sonic Boom’ Kember himself named the song as a stand-out track in an interview with Magnet Magazine.

As of June 19, ‘The After Glow’ will be available digitally online, including via Bandcamp and Spotify. The full album ‘Northern Songs’ will released later this summer. 

Keep up with The Asteroid No.4
Website | Facebook | Bandcamp | Instagram | Twitter | Spotify | Apple Music | Booking USA | Booking UK/Europe | Press contact

Keep up with Little Cloud Records
Website | Facebook | Bandcamp | Twitter | Instagram | YouTube

Keep up with Cardinal Fuzz Records
Store | Facebook | Twitter

 
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Posted by on July 15, 2020 in Psychedelic, Rock

 

New Zero God (feat Tim Jones) – The Secret is Love

While being quarantined during the COVID-19 pandemic New Zero God decided to write this song during the lock down and asked our good friend, Tim Jones, to add some of his magic to it.

Tim Jones is a founding member of the Stone Premonitions Music Collective, formed in northern England in 1994. He started out singing and playing guitar in New Wave/Punk bands Neon and Punishment Of Luxury in the late 1970’s. In recent times, Tim has concentrated on his work with psychedelic band Census Of Hallucinations and prog rock outfits The Rabbit’s Hat and Body Full Of Stars.  He has engineered and produced many artists over the years and his music is currently available from fallingarecords.com

We thought we’d give away the song for free since it is a song about COVID-19 and this virus is everyone’s problem and we shouldn’t put a price on it.

Tim Jones – Guitar, Mike Pougounas – Vocals, Keyboards, Akis Nikolaidis – Guitar, John Psimopoulos – Drums, Michalis Semertzoglou – Bass, Babis Efthimiou – Programing

Music & Lyrics by Mike Pougounas

Produced & Mixed by Mike Pougounas

Mastering by John Psimopoulos

Artwork by Steisy Mandaltsi

 
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Posted by on May 29, 2020 in Rock

 

Jonny Polonsky unveils ‘Sign In The Window’ from new ‘Kingdom of Sleep’ album

NYC-based singer-songwriter, multi-instrumentalist and producer Jonny Polonsky presents ‘Sign in The Window’, an upbeat and sanguine offering from his new ‘Kingdom of Sleep’ LP with video directed by photographylegend Paul Elledge (Rolling Stone, Forbes) and edited by Neal Ostrovsky. This follows Polonsky’s earlier-released singles ‘The Weeping Souls’ and ‘Ghost Like Soul’ featuring Cedric Bixler-Zavala (The Mars Volta/ At The Drive-In).


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With a rich history collaborating with the likes of Johnny Cash, Neil Diamond, Tom Morello (Rage Against The Machine) and Donovan, he is back with new original material as a solo artist. Self-produced by Polonsky, this LP was mixed and mastered by Mike Tholen (Chris Connelly, Revolting Cocks).

“The song itself was originally written several years ago when I was living in LA. It’s a nocturnal number, a small, moody epic in the vein of Arcade Fire or the Pixies. It reminds me of what it felt like to be going down Mulholland Drive late at night in the summer with the windows rolled down, smelling the jasmine,” says Polonsky.

“Some songs take a lot of coaxing and utilization of craft, even some (gasp!) planning or forethought. For this one though, I was playing guitar in bed one night and it just appeared. The song is a kind of yearning for transcendence, that feeling of knowing you’re on the threshold of new beginnings or a new way of being. It’s a thrilling and terrifying place to be. The world you were familiar with is no longer and the new one has yet to appear. You’re floating in space, feeling rootless and vulnerable, but you know deep in your core that everything will be okay if you can just relax and surrender to what’s happening.”

Originally hailing from Chicago, Polonsky writes interstellar anthems for a new generation of mindfreaks. Songs of sex and death and love…hymns of despair and transcendence. A celebration of what it feels like to be human; from the exalted, grandest moments of euphoria and bliss, to the universal pain of loss and letting go. Beauty at every turn.

photo by Jason Robinette

Over his storied and dynamic career, Jonny Polonsky has released six full-length records over 23 years. His early DIY demos led to support from many music luminaries, including Reeves Gabrels (David Bowie, Tin Machine), Marc Ribot (Tom Waits, Elvis Costello), Zander Schloss (Joe Strummer, Circle Jerks) and John Zorn, who invited him to play CBGB’s Gallery with his band with Marc Ribot on guitar, Sebastian Steinberg (Soul Coughing) on bass, and Sim Cain (Rollins Band) on drums.

Reeves Gabrels’ introduction led to Frank Black support, representation by Pixies manager Ken Goes, and Frank Black producing a demo recording, which led iconic record producer Rick Rubin to sign Polonsky to American Recordings.

The instrumentation on ‘Kingdom of Sleep’ ranges beyond the standard guitar, bass and drums: 1980’s Blade Runner-like synthesizer soundscapes, Middle Eastern finger cymbals, gongs, bass clarinets, piccolos, harmonica, bass fiddles, and a children’s choir.

“The video for ‘Sign In The Window’ was directed by my old friend Paul Elledge. He’s done videos, album art and photos for Smashing Pumpkins, Ministry, and countless other bands. He also directed the video for my song Ghost Like Soul, as well as other videos of mine, plus lots of my album covers. We made the video last November in Chicago, back when you could go anywhere. It was 35 degrees and the heater in the car didn’t work. It was brutal in a first world kinda way, and we had fun regardless of the weather,” says Polonsky.

“This album came together as most of my records – gradually. I’m always writing and recording, and after awhile, I notice a unifying theme or atmosphere kind of pokes its head up. The songs that want to be grouped together raise their hands and volunteer for service, nothing is very consciously calculated on my end. I was listening to a lot of Cocteau Twins, I got heavily into them while writing and recording these songs.”

The ‘Kingdom of Sleep’ LP follows ‘Fresh Flesh’ (2018), which was recorded at Rick Rubin’s studio and features guest performances by Mark Lanegan (Screaming Trees, Queens of the Stone Age) and drummer Kevin Haskins of Bauhaus, Love and Rockets, and Tones on Tail. ‘UNRELEASHED: Demos and Rarities 1996-2018’was also issued as a limited-edition colored-vinyl Record Store Day gatefold edition (also available digitally and on CD).

Polonsky’s 1996 debut album ‘Hi My Name is Jonny’ was met with great critical reception from The New York Times, MTV and internationally. After touring with Frank Black for several months and the Lollapalooza summer tour, Polonsky took a hiatus.He resurfaced in 2004 with ‘The Power of Sound’ LPand  supported Audioslave on their 2005 American tour. In 2006, Polonsky formed the short-lived Big Nose with Brad Wilk and Tim Commerford (Rage Against the Machine, Audioslave), and collaborated with Maynard James Keenan (Tool, A Perfect Circle) for Puscifer, with whom Polonsky wrote, recorded and toured in 2007-2010.

Polonsky’s 2012 album ‘Intergalactic Messenger of Divine Light and Love’ was recorded at Rick Rubin’s recording studio in Malibu and Akademie Mathematique of Philosophical Sound Research, and mixed by Jim Scott (Tom Petty, Slayer). The 2015 album ‘The Other Side of Midnight’ followed, mixed by Dean Hurley at David Lynch’s Asymmetrical Studios.

The ‘Kingdom of Sleep’ LP is out now, available everywhere digitally, as well as on CD and clear vinyl with gatefold sleeve. It can be ordered at https://www.jonnypolonsky.com/music

ALBUM CREDITS
Produced, engineered, arranged and composed by Jonny Polonsky
‘Sign in the Window’ recorded by Josiah Mazzaschi at Cave Studios, Los Angeles
Everything else recorded by Jonny Polonsky at Ground Round Sound, Brooklyn
Mixed and mastered by Mike Tholen
Performed by Jonny Polonsky
Additional musicians:
‘Sign In the Window’ features Katie Burden on bass and Matt Hankle on drums
‘You Turn Me On’ features Matt Walker (Smashing Pumpkins, Garbage, Filter, Morrissey) on drums
‘Ghost Like Soul’ features Cedric Bixler-Zavala (At the Drive-In, The Mars Volta) on spoken word
Cover artwork by Jorge Castillo

Keep up with Jonny Polonsky
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Posted by on May 12, 2020 in Alternative, Rock

 

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51 Peg release new EP entitled “Cut the Wire”

The Baltimore-based band 51 Peg originally debuted in 2000 with their “Strange Appointments” album.

Since that time, 51 Peg has released a number of EPs, shared stages with the likes of 30 Seconds to Mars, Orgy and the Birthday Massacre and released their critically acclaimed album “A\VOID” in 2018.

Now, 51 Peg’s catchy brand of dark synth rock is on full display on their new EP entitled “Cut the Wire” that features their best material to date.

In advance of it’s Summer release on all digital and streaming outlets, “Cut the Wire” is now available on Bandcamp as a “name your price” release, just in time for the 20th Anniversary of their debut album.

 
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Posted by on May 5, 2020 in Rock