SONGS Music Publishing
Clementine and The Galaxy
The longing in Julie Hardy’s voice is palpable. It’s a gorgeous voice, filled with warmth and pain, seemingly in contrast with the icy synths and computerized sounds that lurk behind her heartache. But within Clementine & The Galaxy, these two worlds meld together just fine. A retro/futuristic spin on pop, the Brooklyn duo craft evocative electro sounds with a human heart. Hardy may sing “I’ve been programmed not to miss you,” but it’s her soulfulness that propels the whooshing synths and cinematic flourishes of her bandmate/partner Mike MacAllister.
Think the grand drama of St. Vincent, a sprinkle of Bowie’s stardust. Electro-pop gems with a mod sci-fi motif.
Clementine & The Galaxy officially debuted in 2011 with the release of the single “Crying My Whole Heart Out.” Word spread quickly. The duo garnered a feature in Interview (“a pop duo with their hands on synthesizers and heads in the cloud”) and praise fromTime Out New York (“Spacey, playfully proggy art pop in the Bowie lineage”). Since then, they’ve released a self-titled EP, a well-received cover of Nirvana's "Heart Shaped Box" and a popular remix of Big Data's “Dangerous,” among several others.
This year, Clementine & The Galaxy will unveil their second EP,Midnight Machine, released by Jillionaire of Major Lazer's Feel Up Records.
evolv's musical style is driven by powerful harmonies and complimenting melodic guitar movements. Armed with a passionate stage presence, evolv captivates their audience; continuing to push the boundaries of cinematic post-rock and ambient compositions with hip-hop/lofi elements. Follow evolv on his journey as he takes you back to your favorite memories.
Wild Card Music Group
“When we write songs, we start with our own experience and dig to find a unique angle to capture and communicate relatable human emotions and situations. Whether it’s about identity, relationships, fucking, whatever, we try to be vivid and specific about the universal and timeless. We want to do more than just tell you about our love, pain, desire etc… we want to pull you right into the middle of it.” -Danielle Harris of Slow Sugar on their forthcoming EP.
Bursting onto the scene in March of 2015, Slow Sugar has been rapidly proving their worth among the seemingly endless supply of NYC hopefuls clawing for their chance at stardom. Armed with a mix of pop and indie sensibilities, their carefully crafted alternative pop sound is not only immediately infectious, but also intricate and deep. After only a year on the scene, its clear Slow Sugar is a force to be reckoned with in the New York pop game.
A chance meeting in a student jazz combo at the University of Pennsylvania (and a shared self-proclaimed “misfit” mentality) brought together the sultry vocal stylings of lead singer Danielle Harris and songwriting chops of guitarist and vocalist Alex Utay in 2012. While Harris completed her degree in art history and Utay went the clock-punching route with a marketing position at Pepsi, the duo kept in touch. Upon Harris’ graduation in 2014, which ironically coincided with Utay putting in his two weeks notice at Pepsi, they began collaborating on a regular basis for the remainder of the year, churning out songs that would make even the most jaded industry veteran sit up and take notice. With a growing catalog of songs and years of pent up enthusiasm, Slow Sugar was finally ready to take NYC by storm.
Their live debut came at the end of March 2015 with a packed show Bowery Electric, and it has been nothing if not explosive since then. Slow Sugar went on to spend the rest of the year playing and selling out some of the city’s most renowned clubs and festivals, such as Communion’s NYC showcase at Rockwood Music Hall, Mercury Lounge, CMJ at the Bitter End, and a huge show at Highline Ballroom in December 2015.
Riding the wave of this momentum, the duo headed into the studio during the winter of 2015/2016 to record their highly anticipated debut EP with up-and-coming producer Jon Buscema. Harris and Utay have come a long way from their days of text books and college bands, and judging from their captivating live show and killer upcoming EP, it’s quite clear: Pop has never tasted so good.
Wolf House Songs
Los Angeles dream pop duo Chris & Dexy Valentine of Magic Wands are back with their highly anticipated second album Jupiter out on Cleopatra Records Feb 26th 2016. You may know them from their infectious single Black Magic from their debut album Aloha Moon featuring Space which was praised by Spin magazine as “a sexy and propulsive stunner” and earned the band opening slots for The Kills, The Horrors, The Breeders, The Jesus and Marychain, The Black Keys and more. The band returns with a bigger even dreamier sound with their most ambitious album to date, self-produced & featuring more cosmic layered guitar tracks, swirling pop vocals, and driving uptempo beats. The band expanded from an electronic duo and are now joined by new band members Tommy Alexander on bass & Keith Crutchfield on drums.
"Mixing elements of gothy postpunk and ethereal psych (with no shortage of hooks), their sound might best be described as "witchy." -BrooklynVegan
"['"Heartbeat"] is a five-minute dream pop tidal wave kept aloft by a snaking post-punk bassline, with vocalist Dexy Valentine coasting above it all with serene cool." - Under The Radar
"Featuring many first takes of drums, guitars, and bass, [Jupiter] marks a shift in Magic Wands' sound, but one that exemplifies the band's musical growth and confidence." - Interview
“Jupiter” album of the month - Postpunk.com
Memory Lane Music Group
Consisting of band member Robert Husak, and brothers Garnet and Snow Keim, The Blakes have been gaining momentum as their music attracts more and more attention from all corners of the entertainment industry.
"Soak the Kinks in cheap booze, reignite the Stooges’ strut and add some modern Strokes of ambition, and you have the Blakes." - Spin
"The trio’s self-released album has been spritzed up and retooled, but there’s no containing the primal, giddy energy that crackles through it. Careening back and forth between desperate/lovesick and drunk/predatory, the band turns raw, conflicted desire into instantly addictive pop gems and scorching, swaggering rock. The band’s hearts and influences are on full display, but the results are wonderfully contagious." -NPR
Wild Card Music Group
Fever Charm got their start in Oakland over 10 years ago. Yianni, Theo and Ari met in middle school when they discovered they all happened to share the same birthday. Fuelled by their undying love for the Red Hot Chili Peppers and the movie “School Of Rock” they began to write their own original music. Instead of doing their homework, they spent night after night playing, writing, and recording music in a dusty basement. What began as a casual jam session in Ari’s basement developed into a decade long passion project.
In 2011 the band moved to Boston for college, where Yianni met JT in their very first class. It was not long until this friendship bloomed into the current lineup of Fever Charm. Together they lived in a putrid, rat infested basement unit in a downtown apartment complex infamously known as “THE DEN”. Basking in the otherwise creative and youthful air of Boston, they collaborated with many great musicians, producers, and artists. During this time the band recorded song after song and played show after show, ventures that included their Sound of Summer EP, for which they traveled to Austin, TX as well as several west coast and east coast tours.
Following graduation, the band relocated to Los Angeles to fully pursue their careers in music. Immediately after moving, the band went straight to the studio, recording demos every night after their 9-to-5’s. The resulting demos evolved into Retrograde, but the creating has never stopped. They continue to write endlessly and look forward to what the future has to offer.
Living Hour began in the basements of south Winnipeg, writing dreamy love songs inspired by the cinematic sky of their hometown. Blending bright shimmering guitar pop with thick casio drones and uniquely powerful, smoky vocals, their sound washes over you like the soundtrack to the best parking lot makeout session of your youth. Watery echoes of gorgeously sung melodies, psychedelic interlocking guitar, and huge driving crescendos create an enchanting wall of blissful dream pop.
Living Hour contributed two songs to Family Portrait II, a vinyl compilation put out by Art is Hard Records (Bristol/London) in April 2015, and released a super limited edition cassette of their debut s/t album with Tree Machine Records (Bloomington) that same month. The band released their debut album world-wide with Lefse Records (Portland) on February 19, 2016.
Needle Points is a psych-boogie outfit from Philadelphia formed in 2013. Their music, largely influenced by sixties and seventies vibes, is what punk music would have been if Keith Richards invented it.
Needle Points’ first release Bom Tugangu (2013), intended as a collection of 4-track basement demos to book shows with, was met with acclaim locally and even internationally. The album, along with their raucous, face-painted, animal suited, hair-for-days live shows, led them to a record deal with indie label PaperCup Music in 2014. With the label, they released a 7-inch for “Cripple Street” a song that has since been picked up for use by Converse for showroom play.
In the fall of 2014, Needle Points worked with Dr. Dog frontman Scott McMicken on their upcoming release Feel Young. McMicken produced the album and lent his talents as a second guitar player and keyboardist to several tracks. The band decided to leave PaperCup earlier this year and form their own label NeedLove Records on which they’ll release Feel Young.
Needle Points, a band of artists, have also worked hard to develop a marketable aesthetic. Everything they have done and worn since their formation in 2013 has been meticulously curated. Their psychedelic taste and party vibe has helped them develop a loyal social media following, notably in their more than 12,000 Instagram followers. The band members have also always designed and created their own merchandise. Their talents were recently validated when Philadelphia based clothier Free People purchased one of their t-shirt designs. The company will be releasing their Needle Points shirt in department stores and boutiques nationwide this summer. Free People also cited Needle Points as their “favorite band” in a 2015 blog post, and used their track “Needlove (City Walls)” in a YouTube commercial featuring model Alena Blohm. Other brands such as Billabong and Marc Jacobs have also featured Needle Points songs in their work.
Needle Points have toured the east coast twice, including shows at Delaware’s Firefly Music Festival and Georgia’s Savannah Stopover Festival. They have supported bands such as Temples, Dead Meadow, Fat White Family, Sun Club, Spank Rock, CRUISR, Clap Your Hands Say Yeah, and many more. They will be joining Spaceface, fronted by the guitarist of the Flaming Lips, on a leg of their tour this July and will be joining indie rock favorites mewithoutYou for a month-long, national tour this October to support their upcoming release.
Dan San, one of Belgian's indie folk mainstays, is back!
After two years of silence, work, questioning and waiting, Dan San comes back with “Shelter”, an astral, organic and atmospheric second album!
In 2010, the band’s discography takes off with the first EP “Pillow”, quickly followed by the album “Domino”. At that time, comfortably installed in a sweet and carefree position, Dan San gives concerts after concerts and keeps moving forward without taking any short cuts. The “Domino Tour” takes the band all around Europe on more than 120 stages. The musicians discover, enjoy and make noticeable appearances at the Eurosonic (NL), Dour Festival, Nuits Botaniques, Ardentes or Francofolies de Spa. Then comes the time of resourcing and individual experiments. The six musicians take a step back from their common path in order to renew their inspirations within their respective side projects (The Feather, Yew or Pale Grey).
In early 2015, the band ends up back together! The enthusiasm, the envy and the ambition to reinvent itself are strong but working together again is a journey full of obstacles, since the clarity and simplicity of the early days made way to more expectations and sometimes divergent sensibilities. Throughout rehearsals, the creation process becomes more complex, with cornelian choices to make and concessions required from everyone. The musicians abandon their habits, decide to put themselves in danger and to leave their certainties behind, this comfortable shelter in which they had taken refuge. “Shelter” was created around that idea: from the artistic production to the recording, through the writing of texts or the choice of instruments, the reinvention had to be complete in order to give birth to this new record. Consequently, Dan San decided to call on an external ear, a conductor who would shake up its routine.
Enamored by the project, Yann Arnaud, known for his work with Air, Phoenix or Syd Matters, joins the adventure. In Paris, at “La Frette” studio where Yann is established, Dan San settles in the middle of a mess made of amps, vintage keyboards and guitars. The production is engaged! Isolated in this out-of-time manor, which has already welcomed artists such as Feist, Girls in Hawaï or Patrick Watson, the musicians experiment new working methods. From now on, track-by-track recording is over, Yann wants to capture the emotion and the essence of their music live.
The multi-instrumentalist Olivier Marguerit joins the band and sheds a new light on the tracks by opening them to synthetic sonorities. The match is perfect: human and musical. The recording goes on to the GreenHouse Studio in Beaumont where Dan San, still cut out from the world, brings the final touches to this “Shelter”.
The result is a successful and fully-grown album whose compositions are sensitive, authentic and exhilarating. Dan San synthetizes its folk heritage while placing itself in a modern and inventive dynamic. Let “Shelter” take action, as it reveals itself listening after listening.
Empty Cellar Records
First things first: Cool Ghouls are not a retro act. Yes, they dwell penniless in the storied hills of culturally resurgent San Francisco. But these boys have their feet firmly planted in the soil of the now. They look not backwards for approving nods of hipster forebears, but rather skyward, hoping that the "supernatural forces" they yodel for, guide them to all corners of a half-deserving world.
If one were to ascribe to them a 60's-reverent description, one would most likely find an artistic kinship with some the most inimitable, idiosyncratic, yet unmistakably influential bands of the retro-fitting oeuvre. The Troggs, The Monks, Sir Douglas Quintet come to mind immediately (Save your Kinks and Rolling Stones references). Like those that came before, the Ghouls are natural heirs to the folkloric lineage which precedes them, adding dashes of weirdness where needed. And despite their mid-fi leanings and natural fit within the current pantheon of San Francisco rock ‘n roll bands (Thee Oh Sees, Ty Segall, Fresh and Onlys), theirs is a timeless record, which will hopefully transcend the descriptors (garage, psych, etc.) that will undoubtedly plague it. The reason being - they write good SONGS.
These young men have honed their three-headed vocal attack in front of ambitious and unexpected chord progressions, an unrelenting rhythm section, and a keen ear for harmony. Theirs is a trifecta of songwriting styles, ranging from the raspy, rambling psychedelic soul of longhair Pat McDonald ("Grace"), to the high yonder twang of bassist Pat Thomas ("Natural Life"), to the boisterous, fever-pitched, perfect pop of lead guitarist Ryan Wong. Theirs is a truly democratic song-making process, wherein all members are eager to contribute their most zealous performances. Hence, the debut record, an adventurous, colorful romp seen through the eyes of old-souled youths, feels wholly coherent and intentional. The self-assuredness of their songwriting is evident. And no, the Ghouls are not afraid to wear their influences on their sleeves; this is partly what makes the record so digestible. It doesn't claim to be anything other than what it is; a record for now, a record for then, and a record for forever.
- Tim Cohen (Fresh and Onlys, Magic Trick)