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Pitchfork Music Festival announces first round of 2018 lineup.
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BODEGA releases fun debut single, “How Did This Happen?”, ahead of forthcoming album.
& Shares Debut Single “How Did This Happen ?!”
Watch The Video Here

[Photo by Mert Gafuroglu]
With the eyes of filmmakers, Ben Hozie (guitar, vocals) and Nikki Belfiglio (vocals) turn the documentary on themselves, finding the political in the personal. Formerly of prankster rock collective Bodega Bay, known for its outlandish critical stunts, their blend of essay and confession bears witness to the harsh poetry of being human in the digital age.
Joined by Montana Simone (drums), Madison Velding-Vandam (guitar) and Heather Elle (bass), BODEGA are unveiling their debut single, “How Did This Happen ?!,” a standout from their many live shows around New York City. Accompanying the single is a 360-degree interactive video showcasing the band’s unique live performance.
“How Did This Happen ?!” is the first song from BODEGA’s forthcoming debut album due out this summer. It was recorded and produced by Austin Brown (Parquet Courts) on the same Tascam 388 tape machine used for their LP Light Up Gold. It was mixed and mastered by Jonathan Schenke at Dr. Wu’s.
https://youtu.be/TKAzK41-YHM
March 10 – Brooklyn, NY @ Union Pool w/ Mind Spiders (tickets)
March 13-17 – Austin, TX @ SXSW
March 24 – Brooklyn, NY @ Baby’s All Right w/ High Waisted
April 7 – Brooklyn, NY @ Alphaville
May 15 – London, UK @ The Social
May 16 – London, UK @ The Lock Tavern
May 17 – Brighton, UK @ The Great Escape
May 19 – Leeds, UK @ The Brudenell Social Club (Gold Sounds Festival)
Apple – https://itunes.apple.com/us/
iTunes – https://itunes.apple.com/us/
Spotify – http://open.spotify.com/track/
BODEGA online:
http://www.bodegabk.com/
https://www.instagram.com/
https://www.facebook.com/
https://bodegabk.bandcamp.com
http://bodeganyc.tumblr.com/
The Dunes release a new single about the cult of fear in the U.S.
Australian psych-rockers the Dunes are back with the first single from an upcoming album. The song “(Just Because You’re Not Being Followed Doesn’t Mean You’re Not) Paranoid” is a stinging rebuke about the culture of fear that has swarmed over the United States since the 1950’s and only become worse in the last decade.
Watch for the full album later this year.
Keep your mind open.
[No need to be paranoid when you subscribe. You’ll get e-mail updates. No surveillance guaranteed!]
Nap Eyes releases new alt-country single – “I’m Bad”
Watch The Video Here
I’m Bad Now Out March 9th via Paradise of Bachelors, You’ve Changed, & Jagjaguwar

[still from “I’m Bad” video]
Accompanying “I’m Bad” is a video directed by Halifax-based filmmaker Seth Smith, which The FADERpremiered today. “It’s a pretty relaxed, contemplative track. It made me think of someone posing for a portrait,” says Seth. “I was thinking of self-image and the idea of seeing yourself through another person’s eyes. It was a fun set up, and a great group of not-bad people.” Nigel adds, “We’re very happy we got to collaborate with Seth to make this video. He’s an old friend, and an artist and songwriter we’ve all looked up to for many years. Keep an eye out for his feature films The Crescent (2017) and Lowlife (2012), and please listen to the music of Dog Day, if you have the opportunity!”
http://www.youtube.com/watch?
While Nigel composes Nap Eyes songs in their inchoate form at home in Halifax, Brad Loughead (lead guitar), Josh Salter (bass), and Seamus Dalton (drums), who live a twelve-hour drive away in Montreal, augment and arrange them, transubstantiating his skeletal, ruminative wafers into discourses that aim to transcend what Nigel self-laceratingly deems “bored and lazy disappointment art.” The band provides ballast and bowsprit to Nigel’s cosmical mind. The nautical metaphor is not just whimsy: Nap Eyes are all Nova Scotians by raising and temperament, acclimated to life on an Atlantic peninsula linked narrowly to the rest of North America. Brad is a physical guitarist whose lyrical grace is matched only by the dark ferocity of his feedback-laced solos, while Josh and Seamus exercise an unassuming mind-meld melodicism and vigor with their gentle thrumming.
Nap Eyes will tour North America and Europe this spring in support of I’m Bad Now, starting with a record release show in their adopted hometown of Montreal on March 8th. A full list of dates is below.
I’m Bad Now comes out March 9th via Paradise of Bachelors (U.S.), You’ve Changed (Canada) andJagjaguwar (rest of world).
http://www.youtube.com/watch?
Listen:
“Every Time The Feeling” – https://youtu.be/liXRe7t7v2M
“Dull Me Line” – https://youtu.be/MBcZbvcYGPM
Thu. March 8 – Montreal, QC @ Casa Del Popolo
Tue. April 3 – Toronto, ON @ The Baby G
Wed. April 4 – Detroit, MI @ Deluxx Fluxx
Thu. April 5 – Bloomington, IN @ The Bishop
Fri. April 6 – Chicago, IL @ Schubas
Sat. April 7 – Minneapolis, MN @ 7th St. Entry
Mon. April 9 – St. Louis, MO @ Off Broadway
Tue. April 10 – Nashville, TN @ The High Watt
Thu. April 12 – Atlanta, GA @ The Earl
Fri. April 13 – Durham, NC @ The Pinhook
Sat. April 14 – Asheville, NC @ The Mothlight
Mon. April 16 – Washington, DC @ DC9
Tue. April 17 – Philadelphia, PA @ Johnny Brenda’s
Thu. April 19 – Brooklyn, NY @ Elsewhere – Zone One
Fri. April 20 – Allston, MA @ Great Scott
Mon. April 30 – Copenhagen, DK @ Ideal Bar at Vega
Tue. May 1 – Aarhus, DK @ TAPE
Wed. May 2 – Berlin, DE @ Monarch
Thu. May 3 – Hamburg, DE @ Hafenklang
Fri. May 4 – Amsterdam, NL @ Paradiso (upstairs)
Sat. May 5 – Cologne, DE @ King Georg
Sun. May 6 – Gent, BE @ Dok
Mon. May 7 – Paris, FR @ Supersonic
Tue. May 8 – London, UK @ Oslo Hackney
Wed. May 9 – Birmingham, UK @ Hare And Hounds
Thu. May 10 – Glasgow, UK @ Hug & Pint
Fri. May 11 – Manchester, UK @ Soup Kitchen
Sat. May 12 – Brighton, UK @ Prince Albert
“This Nova Scotia quartet perfected the art of the chilled-out guitar jam on its previous two albums, triangulating the sweet spot between the Grateful Dead, Creedence Clearwater Revival, and Marquee Moon. If that sounds like your thing, I promise that Nap Eyes will be very your thing.” – Uproxx
“In just four short years, Nap Eyes have made much ado about meaninglessness with rock ‘n’ roll songs that shake just offbeat and smart lyrics wrapped in bemused ennui.” – NPR Music
“‘Every Time The Feeling” is possibly the catchiest, most immediate thing they’ve ever done, a deceptively thoughtful rocker that ambles along with a little extra verve.” – Stereogum
“Their relaxed, scholarly indie-rock imagines the Velvet Underground if they ditched the leathers for wool sweaters. But this languor contrasts with frontman Nigel Chapman’s hyperactive mind, yielding songs that are lucid with laser-like focus and freeze-framed detail.” – Pitchfork
“I’m Bad Now is undoubtedly the four piece’s most confident release so far. Finding a happy medium between the propulsive, twangy jangle of their 2015 debut Whine of the Mystic and the widescreen, subdued ramblings of Thought Rock Fish Scale, the songs on I’m Bad Now are driving doses of pastoral indie rock.” – Noisey

https://nap-eyes.lnk.to/
Nap Eyes online:
https://www.napeyes.com/
https://twitter.com/napeyes
https://www.facebook.com/
https://www.instagram.com/
https://napeyes.bandcamp.com/
http://www.
http://pitchperfectpr.com/nap-
Screaming Females – All at Once
It’s been a little while since we’ve had a full album from power trio Screaming Females, and now they’re back with a double album no less – All at Once. I’m intrigued by the title, as it seems to imply the world at large – especially in First World nations. Everything is available to us any time we want it, yet most of us are dissatisfied with what we have. Thanks to the internet, we can be everywhere all at once, yet many of us are lonely or limit human contact as much as possible.
Screaming Females explore this dichotomy right away on the opening track, “Glass House.” Lead singer and guitarist Marissa Paternoster sings about her desire to break out of a controlling relationship that she willingly entered, but knowing that doing so will shatter both parties (“I’m locked in is this glass house, impossible to get out.”).
Bassist Mike Abbate and drummer Jarrett Dougherty put down a hard groove for Paternoster as she unloads Helmet-like guitar fuzz on “Black Moon.” Another possible meaning to the album’s title is the raw energy of Screaming Females that comes at you all at once during their live shows. The album adeptly catches their turn-on-a-dime precision and angry wolverine power.
“I’ll Make You Sorry” is not only scorching, but also catchy as Paternoster tries to warn a new lover. “I was once in love before you,” she sings. She’s been down a path that didn’t end well, and wants to give it another shot, but perhaps cutting loses now is easier for everyone. Paternoster’s solo on it flies around like a frisky blue jay.
“Dirt” has a bit of a post-punk sound to it that I love, and I’m happy to say that they add this flavor to a couple other tracks, like the excellent, sharp-angled “Fantasy Lens” and the funky bass-laden “Drop by Drop.” “Agnes Martin” could easily be a metal song if they doubled the speed, but they smartly keep it between garage rock and stoner metal as Paternoster sings about seeking companionship, but only away from others (“Take me under your wing, the sun destroys me.”). Dougherty’s chops are slick as axel grease on this, and Paternoster unleashes some of her trademark shredding. Her vocals get distorted (and backed by what sounds like a church organ) on “Deeply” as she sings about how hard she tends to fall in love when the opportunity arises.
I think Abbate and Paternoster might’ve rushed Dougherty to a Ready-Med clinic after they recorded “Soft Domination” because his groove on it is wickedly sick. “Tell me you’ll lift me up, tell me you’ll take me out of this place,” Paternoster pleads, desperate to get away from…what? A specific place? Life in general? “End of My Bloodline” has a bit of a dub feel to it with Abbate’s creeping bass, Dougherty’s nice high-hat work, and Paternoster’s slightly distorted vocals.
“Chamber of Sleep I” and “Chamber of Sleep II” walk into psychedelia, and the world is better for it. In both parts, Paternoster unloads her guitar like a flame thrower on a stack of articles that still refer to her as a “female guitarist.” “Bird in Space” is downright lovely, with Paternoster singing once more of taking flight from the moment / reality and putting on a guitar clinic.
“My Body” has Paternoster singing about disconnection from a lover and the world (“I’m sleeping in this chair, while you sleep in the hallway…When they come to find me, then please burn my body.”). All at Once ends with the fuzzed-out, massive (and abrupt) “Step Outside.” Screaming Females encourage us to get away from the internet, our comfort zones, or even prepare for a fight. The whole band cooks with gas and definitely unleashes in the spirit of the album’s title. All you can do it sit back and let it hit you.
All at Once is a great addition to Screaming Females‘ catalogue. Paternoster writes biting lyrics about love, heartbreak, and the weird complexities of relationships like few others in the rock business. She is like one of those plasma nebula balls, glowing and swirling with a hypnotizing calm until you get too close, and then she arcs lightning at you. She’s the lightning, Abbate is the thunder, and Dougherty is the driving wind and rain. All three come at you all at once, and you can’t stop them.
Keep your mind open.
[I promise not to make you sorry if you subscribe.]
It’s only February, and Janelle Monae has released what might be the best single of 2018 (and is certainly the sexiest so far).
In case you weren’t aware, Afrofuturist / electro-funk artist / cyborg Janelle Monae is set to unleash her first album in five years, Dirty Computer, later this year. She’s calling this project an “emotion picture” and, judging from the trailer she release, it looks like it deals with many of her favorite themes – the future, the blurred line between technology and humanity, love, sex, and female empowerment.
She’s already given us “Django Jane” from the upcoming album, and she just delivered the Prince-inspired (with whom Monae was working before his death) bisexual anthem “Make Me Feel,” which is easily the hottest and sexiest track of 2018 so far. Anything that hopes to top this in terms of getting your groove on will have to bring serious chops.
Monae is an innovator and free spirit, and we need her and many more like her not only in the world of music, but also in the world at large. This is probably going to be one of the best albums of the year.
Keep your mind open.
[You make me feel great when you subscribe.]
D-Tension: The Violence of Zen
Boston-based MC and hip hop producer D-Tension is back with another album of killer beats, wicked lyrics, and righteous indignation.
The album starts with “Fresh,” which itself starts with a sample of someone saying, “Beats are the worst. Nobody likes beats.” D-Tension then proceeds to slice and dice through jaw-dropping beats provided by DJ Emoh Betta. D-Tension is “Fresh like Febreeze” when he enters a room, and immediately gets your attention with his skills. “Godly” brings rhymes from indie rappers Diamond D and A.G. Diamond talks of being godly on the mic and D-Tension warns other MC’s of faking it (“This hip hop shit’s much more than a hobby.”). A.G. proclaims he was “resurrected between Third and Cypress,” name checking other hip hop gods out of respect.
“What Happen to That” (featuring Akrobatik on guest vocals) is a groovy track with D-Tension reminiscing about “when bad meant good” and when you could still hook up to free electricity at the basketball court and throw your own party there. He admits it wasn’t all great times, however, and how things are much different now. “Landlord Song” is a great example of D-Tension’s humor as he blasts his landlord for renting him a place with broken air conditioning, plumbing leaks, and gouging him on rent.
“Do You Comprehend” is a sizzler with guest vocalists Pace Won and M Dot. The looped baritone sax is great, as are the rhymes – such as Pace Won thinking his life is so screwed up he should just chuck hip hop and go play for the Lions or Rams. “Deal with the Devil” isn’t another song about D-Tension’s lease with his landlord, but rather about how D-Tension takes down inferior MC’s.
“Young Love” is a song about “the ones who got away” and D-Tension’s crushes as far back as fourth grade and being the only Puerto Rican in the small Indiana town where he attended middle school. It’s all true. Full disclosure: I was there. D-Tension and I were pals in middle school. He was the funniest guy I knew then, and he’s still among the funniest people I know now.
“Scandalize” has D-Tension name checking Bruno Sammartino and Devo in the same verse, so that alone makes the track outstanding. “Roaches,” with its jazz lounge groove, is, believe it or not, a song about the gentrification of his old neighborhood and D-Tension being baffled at how the hipsters, artists, and new landlords eliminated the pests that plagued him and his friends all their lives. “Talk White” slams racism, economic inequality, and educational disparity with D-Tension’s slick mic work.
The Rolling Stones loop on “Piss You Off” alone is worth the purchase price of this record as D-Tension admits being “king of the prank” and how much he enjoys ribbing others. The album ends with “Rosebud,” an ode to D-Tension’s first love – a blue Schwinn bike.
Zen is a path of simplicity. “Every day life is the path,” as Zen master Nan-Sen once said. Yet we shouldn’t forget that some Zen masters carried a big stick to crack us across the back to shatter our illusions and bring us back into the moment. D-Tension acknowledges his past, but doesn’t stay mired there. He’s too busy making rent money and embracing the now. The Violence of Zen is his stick waking us from our open-eyed slumber.
Keep your mind open.
[I’ll crack you with a stick if it will remind you to subscribe here and now.]
Caroline Rose – Loner
I first heard Caroline Rose when I got sent a press release about her first single off her album Loner. The song was “Money,” and it ended up being one of my favorite singles of 2017.
Loner, it turns out, is already one of the best releases of the winter. Her deft use of organs, synths, and keyboards turns the record into a blend of psychedelia, power pop, and electro. Plus, she’s one of the wittiest songwriters I’ve heard in a while.
“More of the Same” is a great opener about ennui and people wanting to be individuals just like everyone else. She unleashes impressive vocal chops as she sings about all of her friends having “alternative haircuts,” school being a colossal bore and a haven for crushed dreams, and wanting to get away from the ruts the world at large has created for her. “Cry!” reveals Rose’s love of Devo in the opening synth chords.
“Money” adds spaghetti western guitar and is one of the wildest cuts you’ve heard in a long while. Rose flat-out admits, and calls us out on, how much of her / our day-to-day activity is for the pursuit of cash. The roller rink keyboards of “Jeannie Becomes a Mom” perfectly sum up the fear, joy, and uncertainty of the song’s subject. Plus, the electric beats are wicked.
“Getting to Me” includes what sounds like a plucked violin as Rose sings about the life of a waitress who craves more out of life but yet is a master at her craft. Rose gets a David Lynch-vibe going on “To Die Today” with its echoing guitar, subtle percussion, and her haunting vocals about the feeling and release of death. It’s fitting that the follower is “Soul No. 5,” a song about embracing life (“I ain’t got a job, but I got a lot of time.). The synths during the chorus are exuberant, and they’re laced with surf rock on “Bikini” (a song about the benefits of sex appeal and the objectification of women).
The stabbing synths of “Talk” push the desperate narrative of the lyrics, in which Rose sings of blissful, sexy silence with her lover. The closer, “Animal,” with its synthesized handclaps and trippy keys, is a sexy song about two lovers in the throes of passion.
The whole album is a mix of sex, death, mishaps, and comedy. In other words, it’s about real life. Rose might consider herself a loner, but she’s really all of us.
Keep your mind open.
[We’re not in this for the money, just your subscriptions.]
Radiohead announces U.S. tour for summer 2018.
Just in time to celebrate the twenty-fifth anniversary of their debut album, Pablo Honey, Radiohead have announced a 2018 U.S. tour beginning in July and running through August. The dates are as follows:
Sat-Jul-07 – Chicago – United Center
Tue-Jul-10 – New York – Madison Square Garden
Wed-Jul-11 – New York – Madison Square Garden
Fri-Jul-13 – New York – Madison Square Garden
Mon-Jul-16 – Montreal – Bell Centre
Tue-Jul-17 – Montreal – Bell Centre
Thu-Jul-19 – Toronto – Air Canada Centre
Fri-Jul-20 – Toronto – Air Canada Centre
Sun-Jul-22 – Detroit – Little Caesars Arena
Mon-Jul-23 – Columbus – Schottenstein Center
Wed-Jul-25 – Cincinnati – US Bank Arena
Thu-Jul-26 – Pittsburgh- PPG Paints Arena
Sat-Jul-28 – Boston – TD Garden
Sun-Jul-29 – Boston – TD Garden
Tue-Jul-31 – Philadelphia- Wells Fargo Center
Wed-Aug-01 – Philadelphia – Wells Fargo Center
Tickets go on sale tomorrow. Don’t wait to get them. They will sell out, and resale prices will be high enough to enrage you and them (Radiohead have railed against ticket scalpers for years.).
Keep your mind open.
[Don’t wait to subscribe either.]






