Viewing entries tagged
Polyvinyl

Jeff Rosenstock new album due 2 March 2018

Jeff Rosenstock.jpg

Album release: 'Post' by Jeff Rosenstock
Release date: Digital on 1 January 2018 Vinyl and CD on 23 March 2018
Label: Specialist Subject Records (Europe) & Polyvinyl (US)
More info: Artist website

"one of the most important figures in modern punk" – Pitchfork

Surprise! A new Jeff Rosenstock record for 2018! 

It's New Year's Day. You're still coming out of the haze of 2017. Maybe your New Year's Eve got a little crazy, maybe it got a little dark. You're not sure if you're going to actually get out of bed before noon, but you roll over and check your phone, just in case anything terrible has happened while you were sleeping. Wait. What? Call your best friend. There's a new Jeff Rosenstock record. 

Jeff Rosenstock wrote 'Post'- in a double-wide trailer in the Catskill Mountain town of East Durham, the snow-covered hills surrounding him like a landscape of blank pages. The serene, empty space was a big change of scenery for a guy who bounces around the world like a human comet, playing super-catchy, super-devastating shout-alongs to dedicated fans around the world.  

After playing with Bomb the Music Industry! for a decade, Jeff switched gears and produced records for The Smith Street Band, Dan Andriano, Mikey Erg and more, and started putting out records under his own name. After the release of WORRY., things started to get way more intense for Jeff and his band. They made their first TV appearance on Last Call with Carson Daly, USA Today called WORRY the #1 album of 2016, and the band took to the road, touring endlessly for the past two years, taking breaks only to record new albums.

"2017 kinda felt like the year when we snuck in the back door," says Rosenstock, "We kept getting opportunities to do stuff - even though we take those opportunities to do stupid shit like say how much we made on stage." (This is the guy whose Pitchfork Music Festival performance last summer trended on Twitter after he took the stage and exclaimed, “Seventy-five hundred! Dollars! For us! To play! This festival!” Because, you know, he felt like he had to come clean about it.)

Written in the days after the 2017 Presidential inauguration, 'Post's lyrics get (really) heavy but the melodies are so catchy and the builds are so big and bright that the end result is more of a rallying cry than a surrender. The album was recorded in a one-week, 86-hour marathon recording session with Jack Shirley (Joyce Manor, Deafheaven) at the Atomic Garden in East Palo Alto, CA. "The four of us stood in a room without headphones on and just played the songs live to tape, and after that we had some friends (Dan Potthast, Laura Stevenson, Chris Farren, PUP) fill out some of the sound," So, if the record feels even more unifying than usual, like a party that turns into a sleepover that turns into egg-n-cheese sandwiches on the beach that turns into a protest march that unites a gang of buddies for eternity, well, maybe that's why.

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

Debut album from White Reaper out July 17

Album release: "White Reaper Does It Again" by White Reaper
Release date: 17 July 2015
Label: Polyvinyl
More information / listen on: White Reaper website

Like everything White Reaper does, the band’s trajectory from regional act renowned for its high-intensity shows to national touring group was accomplished at the speed of 0 to 60. “We went all over the country and grew our hair out a little bit,” says guitarist/singer Tony Esposito about the past year spent on the road with the likes of Deerhoof, Young Widows, Priests, and more.

After signing to Polyvinyl in early 2014 and releasing a self-titled EP that blasts through six tracks in a breakneck 15 minutes, the Reapers — Esposito, keyboardist Ryan Hater, bassist Sam Wilkerson, and drummer Nick Wilkerson — soon began working on new material to fill out their set.

Enter White Reaper Does It Again: a raucous debut full-length from a bunch of barely 20-somethings who have more fun on a Tuesday night than you do on a Saturday. Recorded in White Reaper’s hometown of Louisville, KY, with engineer Kevin Ratterman (Young Widows, Coliseum), WRDIA is a pure rock ’n’ roll adrenaline shot: vicious guitar scratches, elastic bass, sugary keyboard leads, and a thudding drums that will inevitably give your heartbeat a new rhythm.

Opening track/lead single “Make Me Wanna Die” counts off to detonation before quickly ensnaring the listener in a melodic force field of fuzz and distortion, highlighted by Hater's bright keyboard tones sending out signal flares through the haze. Esposito’s punk snarl takes centre stage on “I Don’t Think She Cares,” a two-minute ripper that romps and stomps like a certain girl on a certain guy’s heart.

Far from pausing to take a breath, the record’s b-side is just as eager to accommodate those with a beer in one hand and a limitless fount of energy to burn. Take “Sheila,” a track that displays thinly veiled restrained on its verses before exploding in a thrashing chorus over which the titular name is shouted gleefully.

As with their previous material, before entering the studio Esposito put together demos of all the tracks before sending them to his bandmates to flesh out their parts. The band then held reign over Ratterman’s La La Land space for a little over a week, arriving at noon and staying late into the night — a schedule that left everyone as giddily exhausted as the crowd at, well, a White Reaper show.

Not sure what that feels like? Crank this record at full volume — and then turn it up a bit more — and you’ll find out soon enough.

Press reaction to date

  • “…the feral snarl of MC5, the itchy, rhythmic spasms of post-punk, golden-era tunefulness.”  - Pitchfork
  • “Ramshackle riffing served with delightfully disorientating synth arrangements… Ramones-inspired chaos” - NME
  • “unrelenting garage-punk outbursts” - The Line of Best Fit
  • “The fuzzy garage rock of White Reaper has an inspiring groove” - The Independent

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

Sonny & The Sunsets: Talent Night At The Ashram

Talent Night at the Ashra

Album release: "Talent Night At The Ashram" by Sonny & The Sunsets
Release date: 23 March 2015 (UK / EU)
Label: Polyvinyl Records
Listen / more information: on Sonny & The Sunsets website

Bizarre? Scrappy? Deranged? Sonny & the Sunsets’ latest record sees them in perhaps their strangest and most lyrically explorative phase yet.

A big soup of sonic ideas that wouldn’t normally be glued together, the songs on Talent Night at the Ashram make a large collage that mixes cinematic stories of fringe characters.

Initially envisioned as a film project, each song was originally a short film that, when strung together, formed a feature-length movie.

As Sonny Smith was writing the scripts and hiring the actors (even shooting a few of the clips), the scripts began to morph into songs.

Equal parts Fellini and Os Mutantes, Talent Night at the Ashram is cinematic in its storytelling and kaleidoscopic in its mixing and merging of musical genres.

On album opener “The Application,” Smith applies to be a human being to the tune of Beach Boys harmonies, ragtag beats and ‘80s synths.

“Happy Carrot Health Food Store” tells an epic saga of grocery store employees set to a soundtrack that takes listeners on a psychedelic odyssey with elements of jazz and a hallucinogenic sequence including a conversation with a girlfriend swimming in his beer glass, or is that a dog?

‘60s folk, electric sitars, flutes, and myriad other sounds help accentuate tales of professional bowlers in desperate need of a strike (“Icelene’s Loss”), a mansion that houses every woman Smith has ever known (“The Secluded Estate”), and Occupy meetings ending in bad love (“Secret Plot to Destroy the Underground”).

Recording was a communal effort mostly done at Smith’s home on this tape machine with musicians such as Shayde Sartin (The Fresh & Onlys), Garret Goddard (King Tuff), Kelley Stoltz, Rusty Miller, Ian McBrayer, and more.

Pairing uniquely off-the-wall stories with an ambitious musical scope, Talent Night at the Ashram finds Smith once again securing his status as one of today’s most arrestingly inventive songwriters.

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

White Reaper to release EP

EP release: White Reaper (eponymously titled)
Release date: 24 June 2014
Label: Polyvinyl
More information and pre-orders: on Polyvinyl website

“You have the feral snarl of MC5, the itchy, rhythmic spasms of post-punk, golden-era tunefulness, and a clash of time-stamped production tricks—the curiously EQ’d drums sound like they’re being recorded through a tin-can phone connection while an eerie keyboard riff lends a touch of browned-out psychedelia.” - Pitchfork 

From the increasingly fertile DIY scene of Louisville, KY, emerges White Reaper - an incandescent power trio who is ready and willing to blow out eardrums far and wide.

The band - formed by Tony Esposito (vocals/guitar) and twin brothers Nick (drums) and Sam Wilkerson (bass) - combine sparkling hooks and fluid, fluttering rhythms to create psychedelia-tinged garage punk that make heads bob without sacrificing an ounce of sonic bite. 

Having cut their teeth playing a number of raucous local and regional shows that left everyone’s ears ringing and no pores devoid of sweat, the group is ready to unleash their eponymous debut EP - a six-song blitzkrieg that traces the band’s present and future. While dingy and jangly single “Conspirator” scratches the itch left behind by Jay Reatard, infectious stand outs “Cool” and “Funn” will undoubtedly make the ears of the Ty Segall/Oh Sees sect perk up.

Affectionately known as “Tony and the Twins,” White Reaper have six tracks in their pocket, a few future surprises up their sleeves, a thunderous live show, and they’re just getting started….

Track listing

Cool
Funn
Half Bad
She Wants To
Conspirator
Ohh (Yeah)

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

Owls announce first album in 13 years

Album announcement: Owls to release album in March 2014
Label: Polyvinyl
Listen: on Youtube (album teaser)

Owls have a new record. It didn't come fast and it didn't come easy.

It's been over two decades since Tim Kinsella, Mike Kinsella, Victor Villarreal, and Sam Zurick formed Cap'n Jazz as teenagers, and 13 years since they followed up that band with their debut self-titled album under the name Owls.

In the time that has passed since then, the members have kept active with a string of other endeavors (including Owen, Joan of Arc, Make Believe, and Ghosts and Vodka) that have never failed to showcase their vast, diverse, and ever-evolving musical aptitudes.

And yet, even as the four musicians branched off in separate directions, the thread that connected them still remained intact (even if it did become a bit frayed through two previous break-ups).

Following the 2010 Cap'n Jazz reunion tour, talk soon turned to doing another run of shows - an idea which eventually morphed into making a second Owls record instead. After Zurick moved back to Chicago in February of 2012, false starts abounded before new material finally began to take shape.

As the band members soon discovered, taking on such a project meant aligning schedules and collaborating civilly, neither of which proved to be especially easy feats.

And yet, slowly, but surely, a songwriting routine fell into place: Villarreal would introduce a guitar riff from which Tim Kinsella would build a simple chord sequence and vocal melody. Then, the entire group would hash out the rest of the song amidst yelling, arguing, and practices that were often cut short or canceled outright.

"The band dynamic was eerily similar to the first record," reveals Mike Kinsella. "In some ways I think we all regressed to whatever roles we filled then, for better and for worse." With such distinctive musical pedigrees and complex personal relationships to contend with, progress on the album was positively snail-like compared to the five days it took to complete the first record. But nothing good ever comes easily and a listen to Two bears out this adage. It's truly the kind of record that could only have been made by the four unique musicians who all had a hand in crafting it.

While sonically their technique still has the ability to dazzle, age and experience have lent new perspectives to tracks such as "I'm Surprised..." and "Ancient Stars Seed..." -- making them more aggressive and direct, but certainly no less captivating. The drums hit harder, the lyrics are less abstract, but at their core each song captures the essential qualities of its creators.

Says Tim Kinsella, "The line 'We've never had nice stuff' (on "Ancient Stars Seed") feels good to sing because we really are still a grubby foursome with broken equipment and no money and I see these shitty young bands every day with pedal boards and no ideas."

In a world that increasingly favors style over substance, Owls is unwilling to compromise the latter for the former. And that, at least, is something all the members can easily agree on.

Band photo by John Sturdy.

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

Pillar Point's debut album out in February

Album release: Pillar Point (self-titled)
Release date: 24 February 2014
Label: Polyvinyl
Listen: on official site

It shouldn’t come as a surprise if something about Pillar Point’s nine-song self-titled album sounds familiar. Despite being the band’s debut, the moody, melancholy electronica is the work of Scott Reitherman, who until now has been primarily known for his involvement with indie-pop outfit Throw Me the Statue. And while Reitherman’s new project shows off a never-before-seen gloom, his knack for writing tracks that crystalize emotion and work their way into a listener’s guts isn’t at all obscured.

The album, produced by Reitherman’s longtime collaborator Charlie Smith, is a musical departure for the Bay Area native. As Reitherman explains, “Part of what steered me toward the textures and beats of dance music was the feeling of catharsis you can experience through dance." It’s a noble idea, considering the themes Reitherman’s songs are dealing with: heartbreak, loneliness, aging and isolation in an increasingly connected world.

Tracks like “Eyeballs,” a haunting, powerful ode to the solitude brought about by social networks, offer a sleek take on anguish that wouldn’t be out of place alongside early Depeche Mode; “Echoes” and “Cherry” are ethereal, evocative explorations of what Reitherman calls “that apathetic, shell-shocked feeling young people have when they’re trying to figure out what to do with their lives.” Considering the beats Reitherman has created, those young people might plan to spend the rest of their lives furiously dancing.

As the lyrical content reveals, Pillar Point is also a far more intimate project than anything Reitherman has ever embarked on. It's no coincidence that his own heartbreaks led to the songs that make up Pillar Point. They’re bleaker than his previous work and exhibit a growth in both songwriting and orchestration.

"Writing darker songs with dance elements helped me to process the confusion and change I was experiencing in my own life because within the confines of a pop song I could control little moments of clarity and redemption," he says. "And for the listener it adds depth to what might otherwise be just dance music.”

Born out of a two year recording process between Reitherman and Smith that stretched from Los Angeles to the Bay Area and ultimately Seattle, where Reitherman has once again settled, Pillar Point marks not only a fresh musical approach, but also a new mindset for writing songs. “One of the things I wanted to do differently,” he says, “is to lay it all out on table this time, to make my songs more bare and personal.”

The songs on Pillar Point are certainly those things, but they’re also exciting, intricate and impossible to stop listening to. There’s a heartbroken quality to them, sure, but one that seems like it might be cured if only we all close our eyes and move our feet until all is forgotten.

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

The Rentals sign to Polyvinyl and release their first full-length album in 15 years

Signing announcement: The Rentals
Label: Polyvinyl

The Rentals announced they have signed to Polyvinyl Record Co. to release their first full-length album in fifteen years, in 2014. The album, which was recorded in Los Angeles, Nashville and New York City, features Matt Sharp (x-weezer), Jess Wolfe & Holly Laessig (Lucius), Ryen Slegr (Ozma), Lauren Chipman (The Section Quartet) and Patrick Carney (The Black Keys). The album is produced by Matt Sharp & The Rentals and is currently being mixed by D. Sardy (LCD Soundsystem, Jay-Z.)

Founded in 1995 by then weezer bassist Matt Sharp, The Rentals released their debut album, Return Of The Rentals, on Maverick Records and reached #6 on Billboard’s Modern Rock Chart with “Friends Of P.” The single’s stark, Eastern Bloc style, paired with its black and white video, embodied the group’s originality and independent spirit and became an instant MTV favorite – watch here. The album’s unique approach of layering vintage synthesizers, distorted guitars, violins, violas and primal drums all saturated around male-female vocals singing simple pop melodies left its fingerprints all over the future of independent music.

Return Of The Rentals started a creative philosophy for the group of working as a “musical collective” with a shape-shifting, revolving door of significant collaborators. This philosophy purposefully reinforces the literal definition behind the group’s name “The Rentals.” And in 1999, they continued that tradition with Seven More Minutes. The ambitious sophomore effort was recorded in London, England and featured a diverse collection of European artists that included many notable figures of Brit-Pop‘s royalty. After the promotional cycle for the album came to a close, the group was put on an indefinite hiatus.

The new, still untitled album, is the group’s third proper full-length studio album and will feature Matt (Vocals, Bass, Synthesizers), Jess & Holly (Vocals), Ryen (Guitar), Lauren (Viola, Piano) and Patrick (Drums) throughout each of the album’s 10 tracks. This latest return of The Rentals is sure to prove to be equally ambitious and all the more bold in sound and scope. Recently on his personal twitter account (twitter.com/_mattsharp), Matt Sharp broke the news of The Rentals deal with Polyvinyl: “I am beyond thrilled to announce @therentals have just signed with my favorite record label @polyvinyl.” Polyvinyl Record Co. (of Montreal, Generationals, Japandroids) simultaneously released a similarly enthusiastic tweet: “We are happy to announce that the legendary band @therentals have joined the Polyvinyl Family.”

More details will be announced early in the New Year through both the label and band’s official websites and social networks.

Artist Websites:

www.therentals.com
www.twitter.com/therentals
www.instagram.com/therentals
www.facebook.com/therentals
www.polyvinylrecords.com
www.twitter.com/polyvinyl

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

Painted Palms to release debut album, 'Forever'

Album release: Forever by Painted Palms
Release date: 12 January 2012
Label: Polyvinyl
Listen: on official site

Whether living four states away or four blocks away, Reese Donahue and Christopher Prudhomme have always used the internet – at first out of necessity, later out of preference – to collaborate on their songwriting.

Although the cousins grew up together in Lafayette, Louisiana, Donohue eventually moved to San Francisco, while Prudhomme stayed near New Orleans.

The newfound distance between them forced the pair to send song ideas back and forth via email, a virtual exchange that quickly spawned Painted Palms’ first release Canopy, which was discovered by Of Montreal’s Kevin Barnes.

Tours with Of Montreal, Braids and STRFKR soon followed before Prudhomme moved out west to San Francisco, where Donahue still lived.

Yet, despite being in the same place for the first time in years, the duo continued writing songs apart from one another – completing individual ideas in isolation and piecing them together through the computer. 

And so, the songs that would eventually form their debut full-length Forever, came together as if the musicians were still separated by 2000 miles: Donahue sending a short looping beat and Prudhomme replying with a vocal melody before continuing to bounce the track back and forth between them until it was complete, this time focussing on creating songs with classic pop structures. 

As if crafted by tailors so skilled you can never find the seams, the songs on Forever provide no hint of their patchwork beginnings. Instead, the album is permeated with blissfully buoyant tracks like Here It Comes and Forever, which glide smoothly on a foundation of instantly memorable melodies. 

Elsewhere, touches of Painted Palms’ most prominent influences – 60s psych pop paired with modern electronic production – are clearly evident, as on the dark and driving hooks that propel lead single Spinning Signs.

Don’t be fooled though. Underneath the sunny sonic exterior, the lyrics on Forever exist in a different place, with much of the focus centered on how it feels to be caught between the external world and one’s own thoughts.     

“Thinking about myself too much I can see that / I don’t know what to be” Sings Prudhomme on Forever’s title cut.

And in that moment a hint of irony is apparent, for as much as the members of Painted Palms want to get out of their own heads, they’re awfully good at writing songs that will immediately get stuck in yours.  

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

Of Montreal announce new album

Album release: lousy with sylvianbriar
Release date: 8 October 2013
Label: Polyvinyl
Listen: Stream new single fugitive air here

Defining Of Montreal is impossible. There are too many perspectives to consider, angles to explore and layers to uncover. Just when you think you have a concept of what kind of creature they are they transform into something unexpected and new. As a result, each album holds the opportunity for re-discovery, re-immersion, re-appreciation.

On lousy with sylvianbriar, this paradigm holds true once more. The record was created with a new songwriting approach, a different recording method, and a fresh group of musicians. Seeking creative inspiration, Kevin Barnes re-located to San Francisco where he spent days soaking in the strange surroundings and channeling the city's energy into his writing. After a very prolific period there, he returned to Athens, GA and assembled the cast of musicians to begin the sessions.

Barnes eschewed computer recording, with its pitch correction, limitless effects plug ins and editing possibilities. Instead, with the help of engineer Drew Vandenberg (Deerhunter, Toro y Moi), he recorded lousy with sylvianbriar in his home studio on a 24 track tape machine. With no computer tricks to fall back on, the band - Kevin Barnes (guitars, bass, vocals), Rebecca Cash (vocals),Clayton Rychlik (drums, vocals), Jojo Glidewell (keys), Bob Parins (pedal steel, bass), and Bennet Lewis (guitars, mandolin) - could only get out of the recordings what they put into them. Most of the tracking was recorded live with the band in the same room together. They worked quickly, with the band members composing their parts on the fly with little second guessing. The album was recorded in just three weeks.

"I knew I wanted the process to be more in line with the way people used to make albums in the late 60s and early 70s," reveals Barnes. "I wanted to work fast and to maintain a high level of spontaneity and immediacy. I wanted the songs to be more lyric driven, and for the instrumental arrangements to be understated and uncluttered".

Opening track and lead single fugitive air feels like a Stones-y anthem, with sparks of Philip K Dick's psychedelic prose, Ralph Bakshi's cartoon violence and William S Burroughs' hyper-paranoia. "belle glade missionaries" finds Barnes lyrically at his most political, backed by a soundtrack that is pure Dylan circa Highway 61 Revisited.

Female vocalist Rebecca Cash makes several appearances on the album, taking the lead on the plaintive raindrop in my skull, where her and Barnes share a Gram Parsons/Emmylou Harris-inspired duet.

she ain't speakin' now ranks among Of Montreal's all-time great songs, transforming its brooding acoustic guitar intro into a visceral angst-ridden rocker that sounds like the best moments of Neil Young & Crazy Horse. The album's closer "imbecile rages", a caustic and doleful epitaph for a crumbling relationship, is one of Barnes' most raw and personal statements.

Like the classic albums that inspired it, this is an album to be explored, to be lived with, to be listened to in happiness and in darkness, to be dissolved into. To be played very loudly at parties and with eyes closed, in headphones, alone. It should become dog-eared and dirty with use and it should lessen the blow of our enemies, in all of their forms.

The album will be available digitally, on tape, CD and 180-gram vinyl. 1500 copies of vinyl will be clear green vinyl and available through Polyvinyl's E-store exclusively, while the other retail copies will be pink vinyl. Cassette edition limited to 250 hand-numbered copies on green cassettes, courtesy of Joyful Noise Recordings.

Preorder on Polyvinyl here.

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

Anamanaguchi: “8-bit synths and appropriately fuzzed-out beats” – Pitchfork

Album release: Endless Fantasy by Anamanaguchi 
Release date: 30 September 2013
Label: Alcopop!
Listen: on official Anamanaguchi website

Anamanaguchi are an American chiptune indie rock band made up of hackers and producers born & raised on the Internet from New York City. They make "loud, fast music with a NES from 1985” - and they do it amazingly well.

Boasting an incredible fanbase who raised them over $100k kickstarter fund in under 24 hours, with former credits including the Scott Pilgrim Video Game soundtrack (which debuted at Number 3 on Billboard Heatseekers Chart) and a track on video game Rock Band, September sees the release of their new album Endless Fantasy worldwide. 

Anamanaguchi started in Pete Berkman’s basement in the suburbs of New York where Weezer, snacks and Super Nintendo lived in equal rotation. At 15, he began experimenting with creating punk music using an 8-bit NES. Following bass player James DeVito to NYU’s Music Technology program, Pete met Ary Warnaar who grew up in LA on raves, fashion and lazer tag. Ary began writing for the band, lending a more academic electronic-influence to Berkman’s capricious pop sensibilities. Later that year Luke joined as the band’s drummer via a MySpace message and then the band had fully formed.

Anamanaguchi is serious about being happy. They’re part of a wave of young Internet romantics, nostalgic for a future they know may never come, but can see the seeds of it in the beauty that surrounds them. They’re making emotional dance music for the video game generation and aren’t afraid to claim it. Anamanaguchi was born past cynicism and indifference; they’re in love with the universe and aim to celebrate magic-made-real with their music. The band is interested in breathing life into low-tech machines and making expressive, emotional melodies using the simplest, rawest electronic tones available.

Anamanaguchi is what the Teenage Mutant Ninja Turtles would’ve been if they were a boy band. Ary is cool but rude, Luke is a party dude, Pete leads, and James does machines (he’s responsible for all the DIY sound-and-light electronics the band uses).

Their upcoming album Endless Fantasy is about reality and dreams, being young and searching for agency in an infinite existence. Its 22-tracks explore dreamworlds of all kinds from polygon forests, to Tokyo drifting hills at 100mph, to the lifestream from Final Fantasy VII.

They teamed up with editors from Tim & Eric to make their first music video, Meow – a fever dream version of The Warriors set in the perfect arcade. The video lives as a David Lynch by-way-of John Hughes ode to the victorious feeling of suburban escapism through friends and fun.

Anamanaguchi are lead songwriter Peter Berkman, bassist James DeVito, guitarist Ary Warnaar and drummer Luke Silas.

Reaction

  • “8-bit synths and appropriately fuzzed-out beats” – Pitchfork
  • “Awesome overload that has to power to make both eyes and smiles to wide” – theneedledrop.com
  • “One of the most eclectic, psychedelic, and out-of-this-world-sounding indie bands to arise in a long time” – Earmilk

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

The Dodos release 'Carrier' through Polyvinyl on 27 August

Album release: Carrier by The Dodos
Release date: 27 August 2013
Label: Polyvinyl
Listen: on official website 

San Francisco natives The Dodos announce the release of their new LP, Carrier, out worldwide on August 27 via Polyvinyl Records.  The album will also be released by Dine Alone in Canada, Hi Note in Taiwan, Hong Kong, Singapore, Malaysia and China, P-Vine in Japan, and Jointt Corporation in Thailand. The album will be released on CD, LP (180 gram blue vinyl), cassette (limited edition of 100 white cassettes) and via all digital outlets. The first single Confidence is available for streaming and will see a digital release on May 21st.

The Dodos, comprised of singer and guitarist Meric Long and drummer Logan Kroeber, are also heading out on a full North American tour following the release of Carrier. Dates will be announced in the coming weeks.

When it came time for The Dodos to begin writing their fifth LP, singer/guitarist Meric Long wanted to start over. The uncertainty of the band’s trajectory as well as the unexpected passing of guitarist Chris Reimer (formerly of Women) brought about a reassessment of things within the band, and in particular Long’s songwriting.

“Chris was a huge influence on the way I think about guitar, songwriting, and music in general,” reveals Long. “Seeing how he could transform and shape sound with an electric guitar inspired me to explore more tones and use those tones to begin writing a song.”

In need of a different vantage point, Long began writing words before music for the first time, enveloping himself in silence rather than sound. When it came time to set these lyrics to music, Long started writing with only his electric guitar in hand - another first. The focus on this instrument was due in large part to the time Long spent with Reimer. And so, when he began to formulate the tracks that would ultimately comprise Carrier, Long employed two principles he inherited from Reimer: patience to let a song develop and a judgment-free enthusiasm for sound.

The album was recorded in the band’s hometown of San Francisco, allowing for less time constraints and a more pressure-free experience than past out-of-state sessions had afforded. Although John Vanderslice’s Tiny Telephone studio was initially selected for its analog-friendly setup, the duo were happy to find themselves working within a supportive community of like-minded musicians that included engineers Jay and Ian Pellicci, both of whom assisted in the production of Carrier, as well as the Magik Magik Orchestra, which appears on several tracks. As a result, the album The Dodos crafted is refreshingly sincere: no computers, no gimmicks; just eleven songs that are beautiful and solid and true and honest.

For a band briefly in flux, it’s clear now that The Dodos’ outlook on the future has never looked more certain.

More information / press enquiries

For all enquiries, please contact us. If you feature this story in your publication, blog or site, we'd really appreciate it if you could let us know.

Don't miss great Prescription stories and content

Get our press releases delivered to your inbox
Follow us on Twitter 
Follow us on Facebook
Subscribe via RSS
Get our free must-have tips and advice on music promotion
- Visit our website to find out more about our music PRband promotion and music website design services

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

Owen to release new album, 'L'Ami du Peuple'

Album release: L'Ami du Peuple by Owen
Label: Polyvinyl
Release date: July 2, 2013
Listen: on Polyvinyl site

The songs Mike Kinsella writes as Owen have always had rock solid lyrical foundations. And on new album, L'Ami du Peuple, the same can be said for the music. Emphasis on the rock.

Anyone vaguely familiar with Kinsella's musical lineage (Cap'n Jazz, American Football, Owls) knows he's far from a one-note musician. And now, he expands his repertoire as a solo songwriter to include a touch of female vocals, pounding drums, and even dueling electric guitar lines that are the closest thing he’s done in tribute to his 80s hair metal obsession.

The variety of sounds featured on L'Ami du Peuple can largely be attributed to a new approach Kinsella took to the writing and recording process. Rather than locking himself in a room with mostly finished song ideas for a couple of weeks before emerging with a finished album, this time Kinsella involved producer Neil Strauch (Iron & Wine, Bonnie 'Prince’ Billy, Andrew Bird) from the very beginning and spaced out recording over a few month period.

This enabled him to naturally bring a different mood or vibe to the material he was working on every time he entered the studio - re-evaluating what had been recorded during the previous session and collaborating with Strauch on the direction new songs should take.

As a result, L'Ami du Peuple sounds markedly different than any album Kinsella has released under the Owen moniker.

From the electronic blips and hand claps that punctuate I Got High to the ragtime piano melody running through Where Do I Begin? each track possesses a unique and surprising identity.

"In the past I've stifled a bunch of my influences and leaned on a couple consistently, but this time I just let each song happen as I heard them and had a lot of fun trying some new things," Kinsella reveals.

The benefits of this "anything goes" mindset are plainly apparent on album centerpiece Bad Blood -- a track propelled by a quasi-country stomp that explodes halfway through with an electric guitar solo before dovetailing into a closing crescendo.

Bad Blood also affirms that lyrically Kinsella remains as raw and personal as ever. As the title suggests, the song finds Kinsella lamenting his pedigree: "Bad blood / Hereditary law you can't run away from / (Trust me, I've tried)."

This focus on familial relationships occurs often, but with the addition of a new angle on top of those Kinsella has adopted previously  Now the parent of two children, Kinsella finds his perspective on life inevitably shifting from being a "son" to being a "father."

This role reversal adds a new dimension to Kinsella's self-examination of his thoughts and fears. As he explains, "Instead of being a son whose father passed away, I've moved on to being the father afraid of passing."

His anxiety at life passing by too quickly is evident on closing track Vivid Dreams: "How long have I been sleeping? / I'm a dad and my dad's dead."

The question he poses doesn't come with an easy answer, but for an artist like Kinsella who is constantly evolving and reinventing himself, death is just an opportunity for rebirth.

More information / press enquiries

For all enquiries, please contact us. If you feature this story in your publication, blog or site, we'd really appreciate it if you could let us know.

Don't miss great Prescription stories and content

Get our press releases delivered to your inbox
Follow us on Twitter 
Follow us on Facebook
Subscribe via RSS
Get our free must-have tips and advice on music promotion
- Visit our website to find out more about our music PRband promotion and music website design services.

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

'Creepy, but in a good way' - Wampire release new album on May 14


Album release: Curiosity by Wampire
Release date: May 14 2013
Label: Polyvinyl
Produced by: Jacob Portrait (Unknown Mortal Orchestra)
Listen: on official site

After forming Wampire, Rocky Tinder and Eric Phipps steadily began to make a name for themselves in the same Portland OR scene that has produced labelmates STRFKR as well as Unknown Mortal Orchestra. It makes sense, then, that Wampire came to Polyvinyl’s attention when the duo opened for STRFKR at a hometown Portland show and that UMO’s bassist Jacob Portrait produced Wampire’s debut full-length, Curiosity.

The choice of Portrait was a natural one, with both Tinder and Phipps believing he’d be able to contribute almost as much to the record as they would. And so, in mid-August Tinder and Phipps each brought fragments of song ideas into the studio, before deconstructing, re-arranging, and fitting them back together piece by piece; at times lyrics and melodies were thrown out, brought back from the dead, or improvised on the spot.

This loosely structured approach made the process truly collaborative, with producer Portrait occasionally chipping in ideas for lyrics, arrangements, and instrumentation.

The resulting nine tracks are instantly memorable, while defying easy categorization. Says Phipps, “We realized the record began to stray away from having a ‘sound’ and gradually became a platter with an assortment of sounds. The record showcases a flavor we haven’t quite dug into before.”

The album’s diverse combination of sounds ultimately helped give birth to its title, Curiosity - a word that invokes the listener’s wonder at what will greet their ears next, while also describing the overall curious tone the record possesses.

First single The Hearse serves as the perfect introduction for those unfamiliar with the band, its opening notes swelling instantly with electronic organs over a driving drum beat. By the time bass and vocals kick in, you’re already hooked.

Elsewhere, Orchards weaves an infectiously breezy melody on the strength of vocal harmonizing, tuneful whistling, and undulating guitar lines.

In some cases, Wampire’s unique rhythms are best described by the band members, as with Trains, a Motown-meets-Strokes track that Tinder perfectly summarizes like so: “It’s sexy, sounds huge, and by all means should be blamed for future babies.”

The album concludes with the equally sensual Magic Light, a song centered around a dark seductive bass groove that sets the tone for Phipps’ come-hither lyrics. It’s the kind of track that draws you ever further into the record’s beguiling clutches, leaving a lasting impression that remains well after its final notes have faded out.

Reaction

Best New Music - Pitchfork
"Creepy, but in a good way" - The Guardian

More information / press enquiries

For all enquiries, please contact us. If you feature this story in your publication, blog or site, we'd really appreciate it if you could let us know.

Don't miss great Prescription stories and content

Get our press releases delivered to your inbox
Follow us on Twitter 
Follow us on Facebook
Subscribe via RSS
Get our free must-have tips and advice on music promotion
- Visit our website to find out more about our music PRband promotion and music website design services.

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

New album from Saturday Looks Good To Me

Album release: One Kiss Ends It All by Saturday Looks Good To Me
Release date: 21 May 2013
Label: Polyvinyl
Listen: on Bandcamp

In their decade-plus existence, Saturday Looks Good To Me have never taken a typical path: endless line-up changes, shifts in sound from lo-fi 60’s pop to experimental noise rock, a twisting discography heavy on one-off singles and bizarre package tours with afrobeat and freakfolk bands.

In 2012, bandleader and songwriter Fred Thomas returned with yet another reconfigured band line-up, including new vocalists Carol Catherine and Amber Fellows, but also featuring old friends from previous SLGTM incarnations like bassist Scott DeRoche and drummer Ryan Howard. The band’s fifth proper album, One Kiss Ends It All, came together following the group’s first tour after getting back in action, but the four years since their last full-length weren’t spent cultivating this new batch of songs. Instead, a spontaneous and breezy vibe flows through the album’s 12 selections, drawing on the reference points of 60’s pop and early indie rock, all filtered through the band’s skewed pop lens.

Thomas’ songs are always bittersweet, but short, uptempo rockers like Invisible Friend and Break In recall the open-hearted running melodicism of New Zealand kiwi-pop while more groove-oriented numbers like Polar Bear or Sunglasses meld electronic elements with the same sharp-edged attitude of the first Strokes album. Even former SLGTM lead vocalist Betty Barnes (who now lives in Sweden) sings lead on two tracks: the doo-wop piano lament of Negative Space and the spare indie rock road trip The Ever-present New Times Condition.

Saturday Looks Good To Me’s albums from the early 2000’s (All Your Summer Songs, Every Night) predicted the reverb-saturated production and girl-group revisitations that indie rock would embrace several years down the road. One Kiss Ends It All expands on those early lo-fi marvels and feels more like a revelation than a continuance. With more sophisticated arrangements and melodies more direct and engaging than anything the band has ever done, the album feels like re-telling the details of a dream minutes after waking. Something new colliding with something that shouldn’t make sense in a beautifully strange collage. And always more details hidden in the corners.

More information / press enquiries

For all enquiries, please contact us. If you feature this story in your publication, blog or site, we'd really appreciate it if you could let us know.

Don't miss great Prescription stories and content

Get our press releases delivered to your inbox
Follow us on Twitter 
Follow us on Facebook
Subscribe via RSS
Get our free must-have tips and advice on music promotion
- Visit our website to find out more about our music PRband promotion and music website design services.

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.

Pop hooks shone through a melancholic prism: Generationals release 'Heza'

Album release: Heza by Generationals (features Put a Light On, no. 1 on Hype Machine)
Release date: 8 April 2013
Label: Polyvinyl
Listen: on official site

Since releasing their debut full-length Con Law in 2009, Generationals have consistently delivered pop hooks shone through a melancholic prism. 2013's Heza brings the band to Polyvinyl and along with the label change, comes a subtle but significant sonic shift.

Recorded in phases at Jim Eno's Public Hifi in Austin, producer Daniel Black's Bent Black studio in D.C., and the band's hometown of New Orleans, Heza finds Generationals more satisfied in writing songs that breathe and grow over time. These songs show restraint, with hooks developing in the spaces betweensounds. The attention to rhythms and textures reveals a more patient band - one willing to dig for deeper gems than in their previous work. Tracks like You Got Me and Put a Light On use minimalist electronic frameworks to match the intensity of more straightforward guitarwork on Spinoza and I Never Know, all of them paying more attention to layers and textures than to forcing the hook. On Heza, Generationals aren't so much shedding their old skin as growing more comfortable in the one they've always inhabited.

Ted Joyner and Grant Widmer struck up a friendship as high school freshmen in New Orleans, LA. While attending Louisiana State in Baton Rouge, the two formed The Eames Era with three classmates in 2003. The dissolution of that group in 2007 led to a return to New Orleans where Joyner and Widmer started writing songs as Generationals. Baton Rouge-native and Eames Era producer Daniel Black (The Oranges Band) invited them to record their debut LP, Con Law, at his Washington D.C. studio 'Bent Black' in 2008, where incessant coverage of the presidential campaign between Barack Obama and John McCain, and the issues dividing the candidates' viewpoints, gave rise to the band's name.

New Orleans-based label Park The Van (Dr. Dog, The Spinto Band) released Con Law in 2009. Its retro vibe clearly bore the influence of Phil Spector's mid-century pop, but Generationals' influences always ran the gamut, with pieces of Britpop, dance and electronic poking through the trumpet stabs and Abbey Road compression on their analog 24-track recordings.

The band maintained their obsession with tape recording on 2010's Trust EP, produced in Austin, TX by freak- folk mastermind Bill Baird (Sunset, Sound Team). Trust saw the band drift away from the Brill Building origins of Con Law in favor of a new wave sound that owed more to The Sugarcubes and The Stone Roses than the Ronettes. 2011's sophomore LP Actor-Caster revealed a band zeroing in on their strong suit: dynamic pop songwriting. All ten of its taut, bright songs found their way into the band's setlists as they hit their stride with a live confidence earned by relentless touring.

The band's latest endeavor, Heza, brings them to Polyvinyl Records, who will release the album on CD, LP, cassette, and mp3 in the UK on April 8th, 2013.

More information / press enquiries

For all enquiries, please contact us. If you feature this story in your publication, blog or site, we'd really appreciate it if you could let us know.

Don't miss great Prescription stories and content

Get our press releases delivered to your inbox
Follow us on Twitter 
Follow us on Facebook
Subscribe via RSS
Get our free must-have tips and advice on music promotion
- Visit our website to find out more about our music PRband promotion and music website design services.

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

Subscribe to our press releases

You can click here to subscribe to our press releases - we'll send you a weekly digest of all our latest releases.