Fly Golden Eagle – Quartz Bijou (ATO)

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Listen Now: “Stepping Stone”

GOING FOR AAA ADDS

“Ramshackle Garage-Psych muscle” – Rolling Stone

After 3 years of dedication and good work, Fly Golden Eagle is proud to announce their forthcoming album, Quartz, to be released October 14th. The album was recorded in Tennessee and Texas and was a Herculean effort by a number of beautiful people. The album lines up with the groundbreaking 1973 film The Holy Mountain. These combined efforts are certainly evident in the overall power of the record that also translates to Quartz Bijou, a 12-song abbreviated version of its originally intended 26-track version, Quartz. Bijou ebbs and flows seamlessly; it’s a deeply satisfying stand-alone musical effort, with the bonus realization that there’s more to be heard and experienced. The Nashville quartet has also worked extensively with Andrija Tokic, cut music in the Bomb Shelter, and played on some of the most significant albums representing the new Nashville sound, including Benjamin Booker, Hurray for the Riff Raff, Majestico and Alabama Shakes.

Focus Tracks: 13
FCC: 3

Stars – No One Is Lost (ATO)

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Listen Now: “No One Is Lost”

GOING FOR AAA AND MODERN ROCK SPECIALTY ADDS

Stars have confirmed the October 14 release of their new album No One Is Lost (ATO Records) and a headlining North American tour. The follow-up to 2012’s The North, No One is Lost is comprised of 11 original songs and was produced by Stars and Liam O’Neil (Metric, The Stills).

For No One Is Lost, Stars craved autonomy, and serendipitously inherited the Mile End rehearsal space last December above the now defunct, Royal Phoenix nightclub in Montreal. Stars built a functional studio out of the former space of then-disbanding Handsome Furs (and site of Arcade Fire’s first rehearsals); Mile End became a home away from home. Then the nightclub (and life) crept in, resulting in Stars’ most urgent record to date. Drummer Pat McGee explains, “The sub-bass throb coming from the club below our studio was undeniably and unavoidably influential. It motivated us to out-throb the throb.”

“This record’s called No One Is Lost because that is a fucking lie,” says Torquil. “We are all lost, we are all going to lose this game and, as you get older, you lose people more and more. I just wanted to close my eyes and jump and hope that was true. Life is loss, love is loss. And loving people is about accepting that you’re going to have to say goodbye to them. And that’s why it’s fucking brave. That’s Stars ethos: this life is very heartbreaking and sad… so let’s get completely fucking arseholed and listen to some Dionne Warwick.”

Focus Tracks: 12, 1
FCC: 7

ADDS for 10.14.2014

Balmorhea – Balmorhea + HEIR (Western Vinyl)

Click to download – **DIGITAL ONLY**

Listen Now: “Attesa”

GOING FOR TOP 200 ADDS

“…gorgeous, dynamic, and emotive, a bit like Sigur Rós with an interest in understatement. … Balmorhea flashes brilliance only to highlight a slow-burning constancy that’s at the core of one of the year’s early slow wonders” – PITCHFORK

“…listening will unravel hidden seams of loveliness. …this work will reveal its shimmering tributaries that break from the main body of water like precious secrets, stretching for the sky.” – BBC

“It is an exemplary experiment in restraint, lush with a slow-burning, wordless, and ambient Americana that manages to captivate while avoiding the histrionics of its post-rock forebears.” – THE NEW YORKER

For the past eight years the duo of Rob Lowe and Michael Muller have nurtured and refined their creative partnership as the core members of the band Balmorhea. Though their first album on Western Vinyl Rivers Arms (2008) garnered some remarkable press, their self-titled debut, recorded in 2006 and released in 2007 best captures the duo’s unique magic as it first blossomed. With no label, distributor, manager, publicist, or booking agent the duo quietly self-released their first recordings and started playing live shows.

For these two Texans the release of their self-titled album was the beginning of a new trajectory in their lives. They were young enough that their prefrontal cortexes were still developing, but old enough to tap into the ancient stories that coursed through their veins. Though crudely recorded at home, those early songs display all of the key characteristics and emotional scope that continue to define the duo’s sound. Now, seven years later Western Vinyl is honored to have the opportunity reissue the band’s self-titled album, and make it available on vinyl for the first time ever.

In honor of this special reissue, the audio has been lovingly remastered, drawing out even more of the nuances… magnifying the sounds of Muller and Lowe’s fingers on the instruments, and teasing out the textures that set these recordings apart from the rest of their catalog. Simple and sincere, these songs and ambient sounds the duo captured in these recordings are strangely inviting. Throughout the album the distant sounds of Texas grackles, the warm summer rain, the steady rhythm of crickets chirping, and creaking wooden stools, all seeping in to cradle the notes in a restrained din of primordial wonder.

Balmorhea is happy to present two new songs on a limited edition 7″ record titled HEIR. With the songs created for the 7”, the band brings everything full circle, returning to the simple structures and melancholic tone that colored their first recordings. “HEIR I” starts things off slowly with a Wurlitzer’s somber tremolo and some gently propulsive electric bass, soon joined by vibes and a soaring violin melody. “HEIR II” opens with a gorgeous ukulele melody, which is slowly engulfed in Kendall Clark’s expressive drumming, eventually giving way to a frenetic wall of strings.

Balmorhea Focus Tracks: 7, 3 // HEIR Focus Tracks: All
FCC: Clean

Hudson Mohawke – Chimes EP (Warp)

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Listen Now: “Chimes”

GOING FOR TOP 200, RPM, MODERN ROCK SPECIALTY AND HIP HOP ADDS

“Straight fire” – Consequence of Sound

“A widely revered anthem” – EARMILK

“Equally dangerous on rap, trap and dance tracks” – Washington Post

A monster moment in Hudson Mohawke sets, “Chimes” has become a highly anticipated fan favorite. Mastered and louder than ever the tune is part of a 4-track EP that also features a hardstyle re-edit from Gammer, and two completely new tracks that showcase the producer’s great versatility. A range of songs that continues to demonstrate that there is no such thing as the “Hudson Mohawke sound,” Ross Birchard continues to defy expectations and reshape the boundaries of hip hop and electronic music, the underground & the mainstream. Making up one half of TNGHT, and having previously worked with Kanye West, Drake, and Foals frontman Yannis Philippakis, as well as Antony Hegarty (lead singer of Antony and the Johnsons), it’s no surprise that the Chimes EP masters a wide a variety of sounds.

Focus Track: 1
FCC: Clean

Primus – Primus & The Chocolate Factory with The Fungi Ensemble (ATO)

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Listen Now: “Pure Imagination”

GOING FOR AAA AND TOP 200 ADDS

The definitive Primus line-up – Les Claypool, guitarist Larry LaLonde, and drummer Tim Alexander – is back together and set to release their first full-length studio set in nearly 20 years, Primus & the Chocolate Factory, due out on ATO Records on October 21. “The idea was to combine the Frog Brigade and Primus, and do this record,’ says Claypool. I think like a good portion of the planet, we were all pretty put off by the remake of the ‘Willy Wonka’ movie – the Tim Burton version. I really wanted to pay homage to a film [1971's 'Willy Wonka & the Chocolate Factory,' starring Gene Wilder] that was very important to me as a kid and very influential to me musically. So that’s what we did. And as opposed to just going in and recording the songs and playing them the way they are in the film, we twisted them up a bit…twisted them up a lot.”

It felt so good, in fact, that he decided to take Primus into the studio to prepare the soundtrack for an album release. Claypool admits that he’s always, “in some way, wanted to be Willy Wonka,” and, also, that he’s always wanted to work a cover of “The Candyman” — a memorable number from the film’s soundtrack — into Primus sets. “Hell, I’ve been doing the line from the boat ride on stage since the ‘80’s,” then Les sings, ”There’s no earthly way of knowing, which direction we are going…”

“The thought was that I wanted to take on some kind of sacred cow, and the whole Wonka thing was a massive part of my childhood,” Claypool explains. “It just seemed like the perfect project to take on, in part because those tunes are all so strong.”

“The recording is about my early perception of the original Willy Wonka and the Chocolate Factory film,” says Claypool. “The notion wasn’t so much to go in and redo the soundtrack note for note as much as it was to utilize the classic elements of the music yet try to reflect some of the darker undertones of the Roald Dahl books, because when you read those books, there is an eerie and somewhat menacing aspect implied.”

With the album drop scheduled for October 21, Primus plans to tour the Chocolate Factory beginning the very next day. “We’re going to do some touring with it and we put together this pretty abstract stage production,” says Claypool, “We’re going to take it out there, around the planet, and see what happens. And, in light of the record business being gutted by the internet, we’ve made some PRIMUS brand chocolate bars to peddle as well.”

Of course, Claypool realized that it was risky business to adapt a cinematic classic that is so close to so many people’s hearts. And, naturally, he realized that it was dangerous waters to swim in the wake of Gene Wilder, who portrays Willy Wonka in the original film. The band pulls it off by making something that is truly their own, without taking anything away from the movie. When asked about the fairly recent Tim Burton attempt at bringing the Roald Dahl story to the screen Claypool comments, “Look, I love me some Tim Burton, when he writes his own stuff, and I respect what Johnny Depp has done over the years. Hell, Ed Wood is one of my favorite films, but that (Charlie and the Chocolate Factory) is just unwatchable and believe me I’ve tried…twice as a matter of fact,” Les continues, “Even my kids hated it”.

“Our project is an homage to Gene Wilder and David L. Wolper’s, Willy Wonka and the Chocolate Factory and the effect it had on me in my youth,” spouts Les, “Now we get to sell PRIMUS bars and hang out with demented Oompa Loompas. Plus to top it off, it gives me an excuse to wear a purple, velvet waistcoat and brown top hat for the next 18 months.”

Focus Tracks: 2, 3, 6, 7
FCC: Clean

Sallie Ford – Slap Back (Vanguard)

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Listen Now: “Coulda Been”

GOING FOR AAA ADDS

Plenty a future has been pondered in a French café, and so it was for Sallie Ford. During a tiring tour of Europe last winter Ford’s then-bandmate Jeff Munger mentioned he was ready for a break from the tours Ford and her band, The Sound Outside, had logged. She said she too was ready for something new. “And I said, ‘I wish I could have an all-girl band,’” Ford says.

She could.

Ford calls Slap Back, her Vanguard Records debut an “ode to all the babe rockers.” To Pat Benatar and PJ Harvey, Xene Cervenka, and Joan Jett, and Heart. But it’s also her first album without guitarist Munger, bassist Tyler Tornfelt and drummer Ford Tennis, so Slap Back is just as much an ode to herself, to her accomplishments and her ambitions.

She wanted to play more guitar, so she made herself the guitar player. She wanted to play in a band with keyboards, so she signed up Cristina Cano (Albatross, Siren & the Sea) on keys. She added Anita Lee Elliott, who’s been in Viva Voce and Blue Giant, on bass, and Amanda Spring (Point Juncture, WA.) on drums. Like that, Ford had the band she hoped for.

Ford wanted to distance herself some from the rockabilly tag she and the Sound Outside picked up over the course of two albums bookended by two EPs. So she wrote garage rock, surf rock, and straight up rock songs. “I wanted to blend different eras of music—the 80s, 90s, 60s, 70s—maybe some 50s,” she said, before pausing. “I was kind of over the 50s.”

She turned her room into a studio and sat for hours with a notebook, her guitar, a friend’s Nord Electro keyboard, and a four-track recorder. She downloaded drum loop apps with basically named rhythms like Rock Beat 1 and wrote to those. She tracked vocals on top of vocals. Slap Back’s opening song, the appropriately titled “Intro,” finds Ford alone in that room, building an a capella gospel tune that ends with the assertion, “I’m happy, I’m spoiled, I’m fine.”

“When I was coming up with the idea of having a new band, I knew I wanted Chris involved,” Ford says. “He was kind of the silent collaborator I knew was going to come into the picture.”

That’d be Chris Funk, who’s produced albums by Red Fang and Langhorne Slim. Funk is best known for his multi-instrumental work in the Decemberists and Black Prairie. If you play music in Portland and you’re any good, you know Funk. Ford and the Sound Outside had opened for the Decemberists, and Tornfelt’s sister, Annalisa, sings in Black Prairie. The group also worked with Funk on projects for Walker, the music supervision company where he is also employed.

In February of 2014, Ford and her new group went into a Portland, OR studio called Destination: Universe! and went to work on all the songs Ford had ready–a collection full of “simple lyrics about raw emotions,” Ford says, played with the urgency exemplified in the fuzzed-out, missed-love-by-just-that-much lead single, “Coulda Been.”

What interested her on the last Sound Outside record, Untamed Beast, interests her here—relationships. “Lucky to Miss” is about being in one and on the road. “Gimme Your Lovin’” and “You Bet Your Ass” are pick-up lines, and not exactly subtle. But then, why should they be? As she sings on “So Damn Low”: “Gonna start up fresh, gonna start up clean, gonna learn to say what I really mean.”

Slap Back is that, too—a new start for a singer and songwriter who had plenty of success after moving from her native North Carolina to Portland.

“Oregon” is a power-riff ode to her affinity for her adopted home state. “An Ending” covers the relationship with her former band mates, and it makes two things clear: “I hope this friendship never ends,” and, “I think this is how things are supposed to be.”

In 2010, Ford and the Sound Outside were voted Portland’s best new band by Willamette Week. Even in a town where everything old is stylized there was something classic in her voice, something no one else had. Comparisons came back: Billie Holiday, Ella Fitzgerald. NPR would throw Cat Power into the mix. Ford could purr and howl and even managed to hold her own in awkward banter about glasses with David Letterman after blistering his stage.

Slap Back has a new sound on purpose,” states Ford “’cause music should be about taking risks, doing something new and being inspired to change it up.”

Focus Track: 2
FCC: Clean

Stars – “No One Is Lost” (ATO)

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Listen Now: “No One Is Lost”

GOING FOR AAA SPINS

Stars have confirmed the October 14 release of their new album No One Is Lost (ATO Records) and a headlining North American tour. The follow-up to 2012’s The North, No One is Lost is comprised of 11 original songs and was produced by Stars and Liam O’Neil (Metric, The Stills).

For No One Is Lost, Stars craved autonomy, and serendipitously inherited the Mile End rehearsal space last December above the now defunct, Royal Phoenix nightclub in Montreal. Stars built a functional studio out of the former space of then-disbanding Handsome Furs (and site of Arcade Fire’s first rehearsals); Mile End became a home away from home. Then the nightclub (and life) crept in, resulting in Stars’ most urgent record to date. Drummer Pat McGee explains, “The sub-bass throb coming from the club below our studio was undeniably and unavoidably influential. It motivated us to out-throb the throb.”

“This record’s called No One Is Lost because that is a fucking lie,” says Torquil. “We are all lost, we are all going to lose this game and, as you get older, you lose people more and more. I just wanted to close my eyes and jump and hope that was true. Life is loss, love is loss. And loving people is about accepting that you’re going to have to say goodbye to them. And that’s why it’s fucking brave. That’s Stars ethos: this life is very heartbreaking and sad… so let’s get completely fucking arseholed and listen to some Dionne Warwick.”

Focus Track: 1
FCC: Clean

Streets of Laredo – Volume I & II (Dine Alone)

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Listen Now: “Slow Train”

GOING FOR AAA, TOP 200 AND MODERN ROCK SPECIALTY ADDS

Brooklyn-based, New Zealanders’ Streets of Laredo have announced their first full-length album, Volume I & II on Dine Alone Records, out October 7th. Destined to be a soundtrack for all things Fall, this album is a sing-a-long collision of jangling harmonies, stomping percussion, horns and guitars.

Founded by close-knit family members Daniel, Dave and Sarahjane Gibson and inspired by the fervour and madness of the 70’s folk-rock circuit, Streets of Laredo was born out of trying to escape the mundane everyday working life. Older brother Dave tells the story, “Both Dan and I had done the hard yards in bands in New Zealand but we were worn out and a little lost by it all. And broke. I was running this t-shirt company and Dan walks in one day to tell me that he’s finished with music and he’s gonna go get a real job. All of a sudden my ‘big brother’ instinct kicks in and rather than see this young songwriter throw it all away, I gave him a job doing t-shirt orders, and we started working on demos and writing songs together, pretty much day and night from then on in.”

Refining their sound and songs one holiday weekend at a beach house on the New Zealand coast, the Gibsons started to fashion a sound that was equal parts folk storytelling and psychedelic madness. With just one home-town show under their belt, a handful of demos and a whole lot of hope, they took the plunge and decided to move halfway around the world. Fast forward to the summer of 2012 and Streets of Laredo in a rehearsal space in Brooklyn NY with a guitar, a drum-machine and no money, trying to figure out what comes next.

Quickly adding fellow countryman Thom Darlow and local Brooklynites Sean McMahon and Andrew McGovern to the mix, this now rambling, multi-instrumental, seven-piece started to craft a dance-inducing mix of vocal hooks, beats and wild sounds that saw the New York music scene embrace them as their own – building a firm reputation in the music halls of Brooklyn and the Lower East Side for playing danceable, crazy songs that kept fans coming back for more – not to mention seeing the band feted as a must-see act at both CMJ and SXSW.

A quick trip back to New Zealand saw the band record the bones of Volume I & II – ten songs inspired by their old life in NZ and their new life in NYC – in an old converted Auckland theatre where, courtesy of friendships and favors, they locked down that distinctive Streets of Laredo sound.

Like Bob Dylan running late to a Ramones concert or Paul Simon getting blind drunk with Grizzly Bear, however you describe them the resulting songs and sound have had an instant effect on fans and critics alike. Stay tuned for an upcoming US tour announcement!

Focus Tracks: 7, 3
FCC: Clean

ADDS for 10.7.2014

Black Strobe – Godforsaken Roads (Self-Released)

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Listen Now: “Monkey Glands”

GOING FOR TOP 200 AND MODERN ROCK SPECIALTY ADDS

A hulk of a man, Rebotini may look physically impressive but inside he’s really a big softy who loves singing the blues and has an almost carnal attachment to his keyboards and vintage drum machines. His musical career is now divided between two projects: one uses his own name, Arnaud Rebotini, releasing instrumental electronic albums, both nostalgic and futurist, that he plays live on stage – alone – surrounded by his favorite machines. The other is Black Strobe, where he sings and plays a steamy mix of rock and electronic music heavily influenced by blues and country ‘n’ western. The project comes to life fully on stage with the energy of a four-person group.

In September 2014, Black Strobe will release his second album, Godforsaken Roads. The record confirms Rebotini’s rock sensibility and debt to the great American tradition of songwriting, with songs touching on the classic themes of the blues – the randomness of life, the very weight of existence and the strong emotions that run just below the surface (love, lust, loneliness…). He plunges into this world of the bayou, prison and the devil with real passion and the voice of crooner often compared to Iggy Pop or Nick Cave.

Godforsaken Roads contains ten new tracks, including the latest singles “Going Back Home” and “Broken Phone Blues.” The digital edition adds “Boogie In Zero Gravity” and “The Girl From The Bayou” released as singles in 2012. On the album, Rebotini also reappropriates “Folsom Prison Blues”, a Johnny Cash classic, once again with the aim of keeping the blues/country ‘n’ western flame alive (the group’s first album already contained a cover version of Bo Diddley’s famous track “I’m A Man”). This new version, entirely synth-led with not a guitar in sight, transports the song to another space-time continuum with swathes of keyboard worthy of Tangerine Dream, perfectly resuming the spirit of Black Strobe in 2014.

However, don’t think that Godforsaken Roads is all retro – in fact it’s bang up to date, using electronics, sometimes even of a disco slant, to give Black Strobe its futurist dimension. The album allows Arnaud Rebotini to capture the spirit of America’s cowboy era and transport it to the present day with resolutely modern production, much like the spirit of the blues that seeps from the music of electro-pop idols Depeche Mode.

This contemporary western feel, both melancholic and polished, came to the notice of Quentin Tarantino – who used Black Strobe’s cover version of “I’m A Man” for the trailer of Django Unchained – and Dior, who chose the same track to advertise their perfume Eau Sauvage. By creating a link between the past, present and future, the group’s music has also appealed to Martin Scorsese (the trailer of The Wolf of Wall Street), Guy Ritchie (the soundtrack to RocknRolla) and the creators of the video game Grand Theft Auto V (GTA).

Focus Tracks: 2, 14, 10, 1, 11
FCC: Clean

Broods – Evergreen (Capitol)

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Listen Now: “Mother & Father”

GOING FOR TOP 200 ADDS

Over the last eight months Nelson born brother-sister duo Broods (Caleb and Georgia Nott) have distinguished themselves as one of the most celebrated young bands to emerge out New Zealand’s thriving contemporary musical landscape. Announcing their arrival with glossy synth-pop ballads “Bridges”, “Never Gonna Change” and their self-titled debut EP, through a tireless work ethic, commitment to excellence and unshakable senses of self, they’ve established themselves as an in-demand proposition across the globe. “Touring has made us realise how important it is to not just be yourself, but back yourself,” Georgia says. “If you’re not being true, you’ll never stand out.”

Over an ever-growing itinerary of acclaimed performances across the US, UK, Canada, Australia and New Zealand, their sound and live show has become increasingly crucial. To evoke an underrated cliché, Broods have learned how to dance like no one is watching, and sing like no one is listening. “We’ve loosened up a lot,” Caleb says. “We’re in the moment, and we’re focused on making it special every time.” Along the way they’ve shared stages with Ellie Goulding, Haim and CHVRCHES, headlined their own sold-out appearances, and set the internet alight with their third single “Mother & Father”. Far from nonchalant about these accomplishments, Broods have taken that energy straight back into the studio for the recording of their forthcoming album Evergreen, helmed by Grammy-winning producer Joel Little.

Pristinely polished and perfectly poised, across Evergreen Broods deploy vividly atmospheric textures and heady rhythms in counterpoint to measured pop hooks, all delivered with a stadium-sized sense of melody and harmony. A record of euphoric peaks and intimate valleys, Evergreen is the sound of youth maturing into adulthood. Young people growing up lost in the world, and figuring out what that means while finding themselves along the way.

With equally impressive Soundcloud, Hype Machine, iTunes and YouTube figures behind them, as well as key tastemaker support from the likes of Zane Lowe (of BBC Radio 1) and preeminent new music blog Pigeons and Planes, Broods sit on the verge of turning their wide-eyed teenage dreams into a sustainable reality. “We’re not taking any of this for granted,” Georgia says. “We keep active and work on Broods 24/7,” Caleb adds. “This what we do now. It’s our life.”

Focus Tracks: 1, 5, 2, 7, 6, 4
FCC: Clean

Cheerleader – On Your Side EP (Bright Antenna)

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Listen Now: “Perfect Vision”

GOING FOR AAA, TOP 200 AND MODERN ROCK SPECIALTY ADDS

“We love these guys for their laidback tunes and positive attitudes, and once their debut LP drops, we have a feeling they’ll be huge.”—Philadelphia Inquirer

“Gorgeous dream-pop.”—NME

“Classically psychedelic.”—WXPN “The Key”

Philadelphia based up-and-comers Cheerleader will release their new EP On Your Side October 6 via Bright Antenna Records. The music is receiving widespread critical acclaim—NYLON hails “I might’ve originally been hooked by the stuff on the surface, but once I tune out to this Philly five-piece’s brand of glimmery haze-pop, I’m sold” while the BBC praises their “lovely hazy sunny vibes.” The EP precedes the band’s sophomore LP, due January 2015. Additionally, the video for “Perfect Vision” recently premiered at The Wild Honey Pie.

Cheerleader is Joe Haller, Chris Duran, Josh Pannepacker, Carl Bahner and Paul Impellizeri. Haller and Duran’s musical partnership was born in Duran’s parents’ basement, sparking a connection that survived the 2000s and colleges in separate states. After garnering critical attention from the likes of NME for their self-produced and recorded three-song demo, the duo grew and began performing live. Now a five-piece based in Philadelphia, Cheerleader is a bigger version of its original incarnation. “Thanks to our touring and recording, we have a lot of confidence now,” says Haller. “I really can’t imagine Cheerleader without Josh, Paul, and Carl. They’ve had a huge impact.”

Focus Tracks: 2, 1
FCC: Clean

Les Sins – “Why” (Company Records)

Click to download – **DIGITAL ONLY**

Listen Now: “Why”

GOING FOR AAA, TOP 200, RPM AND MODERN ROCK SPECIALTY ADDS

Michael is the debut full length from Les Sins, the dance project of Toro Y Moi’s Chaz Bundick. Inspired by cartoon and movie soundtracks, the largely instrumental album explores classic dance and pop music traditions. Catchy, repetitive vocal hooks gel with beats and synth work influenced by house, techno, French electronic, and ’90s hip-hop production. Bundick made the album over two years and recorded everything in his home studio.

The funky “Why” features vocals from Berkeley, Calif. singer-songwriter Nate Salman asking “Why you wanna go and do that?” “Bother” holds down a head-bobbing, body-moving groove until a stunning hallelujah moment straight out of a sci-fi version of Kanye West’s My Beautiful Dark Twisted Fantasy. While there are no concrete themes associated with the album, Chaz says he can imagine all of these songs playing in the middle of the brilliantly lighted and busy Ginza district in Tokyo.

Touchstones like Timbaland, Mr. Oizo, and Daft Punk, and contemporaries such as Motor City Drum Ensemble offered inspiration, but most influential on the making of the album was the sage advice of a design icon. “My favorite graphic designer, P. Rand always said, ‘Don’t try to be original, just try to be good,’” Bundick says. “When making this record that was/is my mantra—it was just constantly looping in my mind. I believe ‘good’ is timeless and once you can recognize that you’ll see the world in its fullest.”

Focus Track: 1
FCC: Clean

Nude Beach – 77 (Don Giovanni Records)

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Listen Now: “I Can’t Keep The Tears From Falling”

GOING FOR AAA, TOP 200 AND MODERN ROCK SPECIALTY ADDS

“This is good-time, forget-your-troubles music whose primary subject is the pure, uncut joy it inspires” – Pitchfork

“a jangling, jukebox-bound feast of unshakable melody.” – SPIN

” …shades of the Replacements and Tom Petty through and through.” – VICE’s Noisey

“wildly catchy and confident windows-down gems” – Stereogum

Brooklyn’s Nude Beach will release their third full-length album, 77, October 21 on Don Giovanni Records. The album pre-order is now available and fans can also order the double-vinyl at the Don Giovanni label store. Known for their 70s flecked bangers and epic guitar riffs, Nude Beach evoke summertime basement party euphoria.

Call their brand of rock ‘n’ roll whatever you like, but it’s nothing short of eloquent, ingeniously performed and classically constructed. The bright vocals and bouncing bass line on “See My Way” keeps you warm as the summer draws to a close.

Nude Beach has shared stages with The Men, Dinosaur Jr., Mac DeMarco, Speedy Ortiz and many more. Dominating any room with their electrifying live show, the trio will take their irresistible blazers on a national fall tour.

Focus Tracks: 8, 5, 1, 9
FCC: Clean