Available NOW at all digital retailers and HERE on CD! This is our musical tribute to the Belle of Louisville- the oldest operating steamboat in the United States and one our city's most beloved landmarks.
In October 2014 the Belle celebrated her 100th birthday! To commemorate this once in a lifetime occasion, Waterfront Park hosted over 200,000 friends from around the world for the Centennial Festival of Riverboats, and sonaBLAST! joined in on the fun!
sonaBLAST! Records has curated a “concept" compilation CD entitled “Belle 100: Steamboat Songs” to help celebrate our esteemed riverboat’s landmark centennial anniversary. The CD, available physically and digitally, features 13 tracks that celebrate, in one way or another, riverboat culture, the unique heritage of the Ohio River, and the spirit of Louisville. We’re proud to have the diverse artist contributors listed below.
All profits from CD sales will benefit the Belle of Louisville ’s endowment fund. Taxpayers presently subsidize the Belle yearly to the calliope tune of over $100,000 so any donations to the endowment are truly a gift to the community.
1. “Love You Like A River” Kyle James Hauser
2. “Steamboat Honey” Teneia
3. “I’ll Be On My Way” The Bibelhauser Brothers
4. “Around The Bend” The Pass
5. “Upstream Downstream” Steve Cooley
6. “Riverside” Leigh Ann Yost
7. “Holy Roller” The Instruction
8. “Life Is A River” Beady
9. “Dreamboat” The Ladybirds
10. “On The Avalon” Brigid Kaelin
11. “Last Ones In” Nerves Junior
12. “The Ghost of The Belle of Louisville” Roy Ruiz Clayton
13. “Paddle Wheel” Steve Cooley
Eleven new songs from Hawaii based singer-songwriter John Grover! Featuring "Be The Change," "Feed The Fiend," and "We All Come From Love."
Kyle James Hauser is a songwriter, multi-instrumentalist and singer based in Louisville, KY. He was born in Alexandria, Virginia on March 14, 1985. He is a graduate of the Berklee College of Music with a degree in Songwriting and performs what American Songwriter described as, "neo-folk" on banjo, guitar and voice.
Hauser began performing his original songs in 2011 and that year was a finalist at the Telluride Bluegrass Festival's troubadour contest as well as The Rocky Mountain Folk Festival and made showcase performances at CMJ and The Toronto International Film Festival.
In January, 2012 he released his debut album "Oh Oh" on sonaBLAST! Records with a lineup including cellist Ben Sollee, guitarist Grant Gordy (David Grisman Quintet), producer Jayme Stone, and Grammy winning mastering engineer David Glasser. Songs from "Oh, Oh" have been featured on MTV's series 16 & Pregnant and Teen Mom and in the feature films YERT, 2nd Serve, and A Strange Brand Of Happy . Hauser has since toured extensively, including a showcase at SXSW and opening performances for Brett Dennen, Mayer Hawthorne, The Head and The Heart and John Hiatt.
2014 - You A Thousand Times
2012 - Oh Oh
Who would lump Dolly Parton, Nanci Griffith, Cyndi Lauper, Iris Dement, Paul Thorn and Natalie Maines together? The person charged with the task of describing Heidi Howe’s music. The little girl with the big red guitar has been compared to all of them.
After releasing her debut album Nature of My Wrongs in 1999, she began to be recognized not only for her powerful voice, but also for her clever, relevant, earnest songwriting. Nature of My Wrongs received rave reviews, was chosen as one of the ten best albums of 1999 by The Courier Journal and solidified Howe as a worthy contender among other notable songwriters.
Since that release, Howe has toured nationally, placed first in a country battle of the bands, played huge concert halls and pitched songs in Nashville. She’s played radio shows, television shows, and has had her music featured in film. The list of people Howe has opened for reads like a who’s who of alt-country music: Todd Snider, Jason Ringenberg, Paul Thorn, Stacey Earle, The Be Good Tanyas, Jerry Douglas, Billy Joe Shaver, Kim Richey, Holly Williams, The Wood Brothers, Tim Krekel, Rosie Flores and Tommy Womack, to name a few.
Ever the explorer, Howe has delved into children's music, spiritual music and environmental activism and has drawn quite a bit of national praise for her efforts. She has garnered accolades from the usual Americana music supporters like No Depression Magazine and WXPN in Philadelphia while at the same time receiving kudos from Al Gore and winning an E-chievement award from the E-town Radio Show.
Be Good is Howe’s first album since 2007’s I Love Britney Spears. It is Howe’s sixth solo release and the eighth album she has produced. (She produced the compilation album Heidi’s One Night Stand as a benefit for the Musician’s Emergency Relief Fund as well as the sonaBLAST! Records release Louisville Lullabies, which benefitted The Home of the Innocents.)
Today, Howe still professes to favor intimate shows over flashy, larger ones. To testify, she says that the songwriter showcase she hosted for more than five years in Louisville remains “one of her fondest memories.” Howe has always thrived on the easy conversation that seems to happen between performer and audience when she takes the stage. She is excited about taking her music on the road again in 2014 for her Be Good tour.
What the media is saying about Be Good...
"A must have for your 2014 Alternative Country music playlist. Don't miss out on this gem." - I Am Entertainment Magazine
"If alt country needs a queen, we nominate Heidi Howe to the throne." - TheMusicUniverse.com
"Within two tracks, this record was already something I wanted to recommend to people." - AbsolutePunk.net
"Talent, charm, edge, humor and a unique voice in a sea of artists who are just trying too hard. Howe is the real deal." - RockWorldMagazine.com
"Her lyrics are smart and sassy and her music is infectious." - Blogcritics.org
"Howe has the coveted combination of a soothing tone and interesting views and stories that make her material easy to listen to and completely relative to people the world over." - Music-News.com
"With a voice that is thick, ringing like a bell, and syrupy like warm molasses, she is everything that is sweet about country twang." - AllWhatsRock.com
"Howe’s storytelling is captivating, her voice is wholesome and her musical talent knows no bounds." - VeggieFans.net
The Debauchees are seemingly old souls with a youthful sneer. At just 20, the three members of The Debauchees have crafted a full-length that feels vintage and modern, classic and new. Their debut, Big Machines and Peculiar Beings, evokes the minimalist yet intricate post-punk approach of Wire, Talking Heads, and Young Marble Giants with distinct vocals that evoke an emotive Nico. And like many of their punk predecessors, this thunderous trio comes from a fine lineage of artists who formed a band before learning their instruments - to prodigious results. Vocalist Sydney Chadwick says "we all learned how to play in an unconventional way so our playing styles became personal and rule-defying."
The Debauchees are Sydney Chadwick (vocals/guitar), Ashley Bowen (bass), and Cameron Lowe (drums).
Big Machines and Peculiar Beings is out November 12th on sonaBLAST! Records.
Described as “West London meets West Coast”, Et Tu Brucé blend pop, rock, folk, and country, and tie them all together with their signature harmonic sound. Composed of Londoners Jamie White, Matthew O’Toole, and brothers Craig and Darryn Bruce, they are fast becoming theband to watch. Likened to a number of great bands, they inhabit a space on the spectrum where few others reside. They write, perform, and produce their own records, and in doing so have collected a number of accolades from established journalists and a host of new music champions. Their music echoes from the golden age of records, crunching through the barriers and fixing itself tothe future. Formed in 2010, Et Tu Brucé have a rich reputation on the live circuit in London, headlining some of the most illustrious city venues, such as The Water Rats, Dublin Castle, The Half Moon, The Hope & Anchor, and countless more. Fixtures on national and commercial radio stations, Et Tu Brucé continue to aim for excellence.Their first UK single ‘This City/Never Seen You Cry’ was championed by BBC 6 Music, BBC London & X-FM amongst many other tastemaker radio stations. With comparisons to Byrds, Beach Boys, Foo Fighters, Wilco, The Kinks and the Beta Band, and a huge army of followers, ‘Suburban Sunshine’ brings Et Tu Brucé into the elite. In England, their triumphant debut album Suburban Sunshine, was bestowed the title of “the sound of summer” by Best of British Unsigned and remains one of the most critically lauded albums of 2012. Amongst the host of accolades for Et Tu Brucé were nominations for Best British Band by the Online Music Awards, and Album of the Year by the Indie Music Digest.
Et Tu Brucé made their US debut in March 2013 at SXSW, where they were invited to kick-off the Yahoo! Presents Austin Psych Fest Showcase. Their performance in Austin immediately led them to a record deal with SonaBLAST! Records, and an offer to join British Invasion icons, The Zombies, on two US tours this year. Their album ‘Suburban Sunshine’ will be released in the US on June 11, with a record release party on June 12, presented by SESAC and sonaBLAST! Records, at the hot new venue SubCulture in the heart of New York City. Et Tu Brucé is ready to make a big splash on this side of the pond in 2013!
Jamie White, who co-wrote the songs on Suburban Sunshine and is the lead singer for the group, is the son of Zombies’ founding member and co-songwriter, Chris White.
Justin Paul Lewis makes music with the purpose to reach people. He tells his stories and performs with the intent to make them be heard. Raised in Louisville, Kentucky, Justin uses every bit of his heritage and influences to accentuate the importance of genuine music and bring that honesty to the forefront of what he does. Known for his soul-driven Americana, Justin matured as an artist by making a name for himself within the Louisville music scene. At age 25, Justin has shared show bills with acclaimed artists such as Lucinda Williams, Lyle Lovett, and Norah Jones, all while stocking up on gas station receipts around the country realizing his mission: reaching people through music.
Rinse, Repeat, Rewind
“Rinse, Repeat, Rewind” is a collaboration between songwriter Justin Paul Lewis and cellist/producer Ben Sollee. It is a small collection of true stories with their own individual lives.
“I was enthralled with the relationship Jim James (My Morning Jacket) had with Ben and Daniel Martin Moore’s record “Dear Companion,” he revealed. “[James] worked as producer and oversaw the project, bringing entirely new ideas to the table. That relationship really struck me."
While the songs on “Rinse, Repeat, Rewind” were developing their own respective voices, it became apparent that Sollee’s body of work was suited to match what Lewis was trying to convey. While originally apprehensive to place his songs in the hands of an outsider, Sollee was the clear choice to handle the honesty and sensitivity of these four stories. "Ben is a great friend and mind. Being able to mold the songs on this EP with him truly brought new light to what we do." “Rinse, Repeat, Rewind” is the result of an artistic collaboration between two roots-heavy musicians from varying backgrounds, and each song elicits its own identity for each and every listener.
Carousel Beach is a Los Angeles / San Jose band formed in the early 2000’s. Colin Studybaker and Joseph Hurt, childhood friends who grew up in the sweltering heat of Florida, started playing together in their school days. In between various ventures they collaborated, sometimes long-distance. Joseph ran experimental San Francisco label Highpoint Lowlife while Colin engineered in Chicago at Engine Music Studios with Brian Deck, working with bands like Iron & Wine, Ugly Casanova, The Fruit Bats, and Squirrel Nut Zippers.
After touring the world with The National Trust (Thrill Jockey), Colin relocated to Los Angeles to pursue more engineering and producing, and continued to collaborate with Hurt, culminating in this debut Carousel Beach release.
Principal songwriters Hurt and Studybaker are joined on this beautifully trippy album by Katrina Lenk (MoxyPhinx), Brian Deck (Red Red Meat), and Nyles Lannon (Film School). Chris Phillips (Squirrel Nut Zippers) and Neil Rosario (The National Trust) also contributed to the sessions.
The music on Carousel Beach’s debut album is a stunning mix of influences. The opening track, “Caustic Weather,” starts with a gentle mellotron lick and ends in distorted guitars in less than three minutes, while the bouncy standout track “Ayahuasca” weaves in between innocent sing-along and freakout territory all while remaining as accessible as can be. Throw in the folky “Do We Need More,” electronic experimentalism, nature, surfing, South American shamanism, and the art of Pablo Amaringo, and you have the blueprint for Carousel Beach’s cinematic debut.
Louisville, KY’s The Pass tout a “neverending quest for a balanced perfection of synthesizer pop and dance-floor psychedelia.” Mere twentysomethings, they are already expert organizers of a barrage of sound that would be otherwise easy to let derail. Thanks, they say, to endless nights in a basement sound laboratory and influence by the likes of Justice, LCD Soundsystem, Daft Punk and ‘80s synth-pop. The Pass are half from Jersey and half from Kentucky. Kyle Peters and Will Roberts played in garage bands in the former; Brian Healey and Neil Lucas honed their craft in the latter. They converged at the University of Louisville and got to work.
The Pass’s music is compulsively listenable, danceable and playable. Their momentous sound and infectious onstage energy keep the crowd moving. Their five song EP “Colors” was released in February 2010. Their debut full-length album, to be mixed by Alex Aldi (Passion Pit) was released fall 2010 and made many best of 2010 lists. The songs TRAP OF MIRRORS and COLORS have already found their way into episodes of CW’s hit show VAMPIRE DIARIES, the song COLORS was featured in the FOX show RAISING HOPE, and CROSSWALK STEREO in the MTV movie “My Super Psycho Sweet 16 Part 2″. High points of 2010 included being the #1 seller at Ear X-tacy for a week, being top five highest indie/local seller there for the year, and being asked to headline the WFPK benefit New Year’s Eve show at Headliners and it selling out. Music videos for THE PASS have combined viewings of over 100,000 so far…
Beady is a “new folk” band based out of Louisville Kentucky. Started in 2010, Beady has had an assortment of singers, songwriters, and instrumentalists all working together around the songs written by Jordan Trabue. Since its inception, Beady has played everywhere from street corners to radio stations to packed concert halls; anywhere where there is an audience and a love of music.
With catchy hooks, lush strings, blasting trumpet, soaring harmonies and everything in between, Beady has been compared to artists such as Bright Eyes, Mumford and Sons, The Avett Brothers, and Sufjan Stevens. They were signed to sonaBLAST! Records in 2011 and have been promoting their first label-backed album, Youngest Days, to great success, with songs getting airplay and film placement. If you're curious, have a listen or come see them at an upcoming show!
The music scene of Louisville is filled to the brim with talent and eccentricity, acting as the breeding ground of the post-rock movement via Slint and their many splinter groups. But the scene began feeling too content and needed a kick in the ass. The super fresh Nerves Junior are the men for the job, and are poised to permeate the rest of the country soon enough. Formed in 2009, the group developed their sound under the influence of their love for fringe garage rock, crystalline pop songwriting, and racks of analog gear.
"As Bright As Your Night Light," their nine-song debut, is an expansive, eclectic collection of electronic-laden experimental rock with a hook-heavy edge and dense atmosphere, equally psychedelic and accessible. Dreamy, ambient meditations and waves of soft acoustic guitar on “Get Left in the Dark” and intimate down-the-rabbit-hole dirge of “Downtown Lament” represent one end of the group’s repertoire, while the dark analog stomp and driving mid-tempo of “Kale” and soaring, intricate chorus of the title track showcases the group at their most bombastic. The group’s flawless meshing of airborne, resplendent textures and infectious choruses hit a fever pitch on songs like “In Absentia” and “Champagne & Peaches,” sure to cause fans of Deerhunter, Women, and similar boundary decimating artists to perk their ears up.
Without compromise and immune to any and all trend-riding, Nerves Junior are paving their own path with a distinct spin on what’s happening in the buzzband-a-minute indie culture. These guys are one to watch.
Musicians often claim they are “giving themselves” to their listeners, but it’s rarely as true as on Ben Sollee’s fourth album, Half-Made Man, a revealing, deeply moving album that explores a man trying to figure himself out, just as we all are. Known for his thrilling cello-playing that incorporates new techniques to create a unique mix of folk, bluegrass, jazz and R&B, Sollee possesses rough-smooth-smoky vocal stylings and a knack for intricate arrangements that has brought about comparisons to Sufjan Stevens. Sollee shares himself completely with his audience, whether it be by personal lyrics, or his commitment to the environment. Sollee can often be found riding a bicycle to his concerts (cello strapped to the back), which have become legendary for their intimacy.
The album, produced by Sollee himself, boasts a sublime cast of musicians, including Carl Broemel (My Morning Jacket) on electric/acoustic guitar and pedal steel, Alana Rocklin on bass, Jordon Ellis on percussion, Jeremy Kittel (formerly of the Turtle Island String Quartet) on violin, and guest vocals by Abigail Washburn. Sollee contributes octave mandolin, guitar, and of course, his signature cello.
“I wanted it to have a raw, real-time performance quality,” Sollee says. “This is kinetic expression. I dug deep into myself and asked the musicians to go there with me. To my ear, it sounds like musical search party; we often find what we’re looking for in between defined styles and genres. It won’t be easy to place this in one category, but I, and my generation, are measured by a little bit of everything these days.”
Sollee first gained major notice with his 2008 debut, Learning to Bend, which led NPR’s Morning Edition to call him one of the “Top Ten Great Unknown Artists” of the year. Later, All Things Considered called his debut “an inspired collection of acoustic, folk and jazz-flavored songs, filled with hope and the earnest belief that the world is good.” Around the same time, Sollee was touring the world with Abigail Washburn’s Sparrow Quartet alongside Grammy nominee Casey Driessen and multi-Grammy winner Bela Fleck. Sollee’s music drew the attention of My Morning Jacket frontman Jim James, who produced his second full-length album, a collaboration with Daniel Martin Moore. In 2010 they released Dear Companion, a stunning collection of songs meant to inspire environmental stewardship. The next year Sollee contributed his cello stylings to My Morning Jacket’s hit album Circuital and released Inclusions, a sonically awe-inspring album about relationships that was called “structurally brilliant” by Slant and “stunning” by No Depression.
Through it all, Sollee has garnered a rabid following of listeners devoted to his music. They will be greatly pleased with this, his most personal and adventurous album yet. His voice is grittier here, and the instruments—fiddles, lovely in their sawing, and electric guitars grinding out love and disappointment and every emotion in between—mimic the urgency and passion so evident in his vocals. “The vocals are more off the cuff and freer,” he says, stressing that the production strives more for rawness than perfection. “We steered our ears toward getting the right energy for each song. The takes took on their own life and led us along. The machines and mics had a weighty sound that we could use to drive the story through the lyrics and arrangements.”
The songs give us the many facets of a human being who is acutely aware of the world around him and his own faults. The album is novelistic in its scope and theme as we travel with the narrator who reveals everything about himself as a father, a spouse, a musician, and more. We are along for the ride as the narrator sings of selfishness, joy, impatience, romance…being human.
With Half-Made Man, a record of raw power, grace, and wisdom, Sollee is sure to be measured alongside the best artists of his generation.
Ben Arthur’s new release, If You Look for My Heart, is an interrelated concept album and novel pairing. Sharing title, themes, and characters, the album and the book are densely interrelated, yet independent works. Guest appearances by Aesop Rock and Rachael Yamagata on the album are echoed in the narrative of the book.
Ben has released five previous albums and one novel, performed on national television and the internationally syndicated radio program Acoustic Café, and has shared the stage with artists including Dave Matthews, Tori Amos, Bruce Hornsby, Shawn Colvin, Toots and the Maytals, and Sophie B Hawkins. Ben has licensed his songs to ABC, CBS, Showtime, and PBS, and has had three half hour specials devoted to his work on Sirius XM radio.
Since 2011 Ben has hosted and co-produced the video series Dubway Days, in which he writes and records a song with a featured artist over the course of a day. Guests so far have included John Wesley Harding, Ollabelle, Vienna Teng, Tracy Bonham, and Latin film star and two time Grammy-nominee Ximena.
Live performances, interviews, fan-made videos, and covers of Ben’s songs by other artists can be found online at YouTube, Facebook, iLike, LastFM, etc. On Pandora Ben’s songs have logged half a million plays.
It’s a challenge not to fall in love with Cheyenne Marie Mize. Whimsical, haunting, twangy folk that’s dynamic and eschews the traditional alt country formulae, her debut, “Before Lately”, is an amalgamation of contradictions – rugged and gentle, innocent and forlorn, spacious and intimate, desolate and uplifting. The New York Times, in a glowing review, says she “has a rare voice, sweet without being cloying, and weary without hopelessness.” Guitar, bells, occasional percussion, and honey-tinged vocals make up this simple, immaculate collection of vintage torch ballads, engrossed in twinkling bucolic imagery that showcases a soul twice her age. Mize’s talent certainly did not go unnoticed. While Mize is no stranger to her hometown of Louisville by way of her other bands, Arnett Hollow and the Carter Family-channeling Maiden Radio, she introduced herself internationally on the 10″ release Among the Gold with Bonnie Prince Billy – a collection of late 19th century American parlor music handpicked by Mize and Oldham. She kicked off 2010 as a major player in Ben Sollee and Daniel Martin Moore’s Dear Companion tour. 2010 is the year in which Mize, who has earned her keep touring behind Bonnie Prince Billy, Maiden Radio, and Sollee and Moore, took the front of the stage supporting her amazing EP. The challenge is on, but Mize will be hard to avoid in the near future. Her music was heard at the 2011 Sundance Film Festival in the closing credits of the film “To.get.her” and has been featured on the MTV show “16 And Pregnant” and The CW’s “The Vampire Diaries”.
Hoots & Hellmouth are a busy bunch. Road warriors to the bitter end, they’ve somehow found time to enter the studio twice in the last year to produce two records showcasing their forward-thinking roots/soul music. Their latest offering, the full-length Salt, was recorded in their hometown of Philadelphia at Miner Street Studios with friend/engineer Jon Low (Dr. Dog, Sharon Van Etten, Twin Sister). The result speaks volumes to the evolution of a band committed to pushing their boundaries and exploring new sonic horizons.
Salt builds on the fresh ground broken on their previously released EP, Face First In The Dirt, continuing down a path of explosive creativity. “Why Would You Not Want To Go There?” kicks things off with a building intensity reflective of their passionate live performances, but tempered with well-placed flourishes of piano and electric guitar. H&H’s trademark soul vibe is thick on “Lay Low,” incorporating the stomp groove and call-and-response vocals familiar to established fans of the band. By the time the listener reaches the middle of the record, the dynamic and deep “Apple Like A Wrecking Ball” and “The Ache” drive home the point that these guys are not content to rest on their laurels. To round it all out, album closer “Being Borned Again” continues their tradition of massive group sing-alongs so vibrant the listener already feels the chills of the anticipated live rendition.
Lyrically, Sean Hoots has always endeavored to keep a keen eye on the craft of songwriting, and Salt showcases the artist on top of his game. These new songs reveal a greater depth of vulnerability and personalization unheard on previous H&H offerings. This is the sound of a writer digging deep, planting seeds and harvesting a bumper crop of thought-provoking, soul-scraping tunes.
With all the envelope-pushing found on Salt, one thing that won’t change any time soon is the band’s love of the road. Touring the old-fashioned way (relentlessly!), the band performs in all manner of venues on their own and with friends like Dr. Dog, O’Death, Heartless Bastards, Langhorne Slim, Grace Potter, etc. From rock clubs to folk festivals, they tour consistently and persistently, including triumphant stops at Wakarusa, the Philadelphia Folk Festival, SXSW, thousands of dive bars and more than a few farms in between.
SonaBlast! Recording Artist Ted Stevens is all about connecting with an audience, and not just through a few clicks on Facebook or some other impersonal online social media.
"I'm interested in making work that deals with the things that connect us,” Stevens says, “and the things that are between us. I want to share in the common human experience, because, to varying degrees, we all go through the same things in life. I want to share those things with an audience."
Stevens is wasting no time in getting in touch with that audience. Since returning to the US last summer after four years of living in Glasgow, Scotland, Stevens has already released the explosive single “Into the Black,” a follow-up single and accompanying video for the balls-out-strut of “Sally’s Alright,” and is getting ready for the release of his first full-length, Waiting.
This drive and dedication is inherent in every facet of Stevens’ work. Each step of the way, from writing the song, to recording, to releasing and promoting, is just as important as the other. “Everything I do is about making sure the songs are presented in the best possible way, so that they have a chance to be heard and shared with an audience,” Stevens say. “To that end I try to keep an eye on that song's life beyond the writing and recording.”
However, splitting his time between two countries made this process slightly more complicated. "A lot of these songs were started in my home studio in Scotland. I'd record the basic tracks and ideas, then take it back to Kentucky to finish,” says Stevens. “It took a long time to do but in the end I think it was worth it because each country I was in, and their surroundings, affected the life of the songs as they developed.”
After putting together a formidable live band, Stevens is gaining praise for his electrifying live performances and garnering heavy airplay throughout the Midwest. Despite the intelligence and urgency of the music, the live Ted Stevens experience has almost nothing to do with a tidy arrangement, and instead finds its roots in that bygone era when musicians didn't just hunch over their instruments for 55 minutes, but tried to give the audience a show. "I've never been a guy that just wears his jeans onstage, that's for sure," Stevens says.
With the release of Waiting, Stevens is poised to take his career to the next level. “There’s more to being a musician than playing a show here or there and putting out an album every five years,” says Stevens. “Nothing great ever comes easily.”
Mark emigrated to New York City at the age of nineteen. He found himself in the middle of a thriving music scene, centered around the East Village and the legendary Sin-é Cafe. The creative atmosphere was exactly what Mark needed to jump-start his career as a musician.
Supporting himself by working as a bartender, Mark devoted his free time to honing his songwriting skills, cutting his teeth playing open-mics around the city. Drawing from inspirations such as The Beatles, Nick Drake, Radiohead and Van Morrison, Mark garnered respect and attention from both audiences and fellow artists. He was soon featured on bills with the likes of Jeff Buckley, Joe Strummer, and Elvis Costello.
Mark’s album 33 1/3 Grand Street, released in 2002, was recorded with a talented group of musicians and an eclectic selection of instruments that grabbed the attention of new fans in the U.S. and abroad. Mark’s next album, Ghosts, brought him critical acclaim on both sides of the Atlantic and was voted 2005′s Album of the Year by the Irish Voice. 2008′s Opiumcontinued the trend of showcasing Mark’s considerable talents.
In 2009, Mark’s recording, Live, Love, Lost It, NYC, took him back to his New York roots and features songs from all three studio albums recorded live throughout NYC.
Mark has composed the score to several films; 2005’s Loggerheads, 2006’s Steel City, and 2010′s Sons of Perdition. He recently completed work on the score for an unreleased Irish film. His songs have been featured on various television shows including One Tree Hill andBones.
Mark’s 4th studio album, songs about love, songs about leaving, on sonaBLAST! Records, was recorded in New York City and features guests including Glen Hansard and Jenna Nichols. In 2012, Mark toured Ireland & Europe including the UK, the Czech Republic and Germany and is continuing to tour while working on his next record
“The last songs that made me cry were by a young New York singer, Kelley McRae. One was called “Time,” and the other one “Break Us.” – Wim Wenders
In 2011, after 7 years in Brooklyn and with a growing national fan base, Kelley traded in her apartment for a VW camper van and hit the road. Her husband Matt, who is also her guitarist, was on board. “At the beginning of the year we quit our jobs. We sold the furniture, the piano, everything,” Kelley said. “We took off on ‘The Great VW Camper Van Tour’ and we’ve played shows all over America. It’s been insane and absolutely amazing.”
Since leaving New York City, they’ve played over 100 shows, driven 25,000 miles, teamed up with tour sponsor True Lemon, been featured in a national American Airlines campaign, and been filmed for a major French documentary.
With no end date in mind, McRae’s tour is driven by the same grit and grace that has defined her music.
“I grew up in Mississippi and the music that I loved the most was, at its core, Southern music: The three part harmonies of the hymns they sung at my grandparents Baptist church, the Bill Withers tape my dad played on car trips, the stories my grandpa would tell me of hearing Blind Lemon Jefferson playing on the hood of an old car out in front of their house at the farm” shared McRae. “And the artists that would eventually come to influence me the most – Lucinda Williams, Aretha Franklin, Patty Griffin, Gillian Welch, Uncle Tupelo, Richard Buckner, Mary Gauthier – they may not all be southern, but they sure do sound southern. This was the music that felt like home, even when Brooklyn came to feel more like home than anywhere else ever has.”
McRae’s albums ‘Never Be’ (Producer JD Foster: Calexico) and ‘Highrises in Brooklyn’ (Producer Brian Deck: Iron and Wine, Josh Ritter) have found impressive fans: Paste Magazine gave her four stars, WNYC’s ‘Soundcheck’ named her performance one of the year’s best, Wim Wenders says her music makes him cry and Bob Harris of BBC Radio called her ‘brilliant.’ Her songs have been featured on MTV, in the Sundance film ‘Children of Invention,’ on an international Unicef commercial, a national American Airlines campaign and on the hit TV show ‘Army Wives.’
Yost's homegrown stories of love, loss and winding roads are captured in rhythm and song and projected on one’s soul. That is the difference between hearing music and witnessing an artist. Whether it's part of a nightclub set past midnight, a fundraiser at a park or a road trip with a soundtrack to go –her music has become a part of the emotional and social landscape of Louisville, Kentucky.
Love Jones is an American band, in Louisville, Kentucky in spring 1990 by Ben Daughtrey (drummer) and Barry Thomas (bassist), with Chris Hawpe (singer/guitarist), Stuart Johnson (drummer) and Jonathan Palmer (singer). According toEntertainment Weekly, Love Jones was the leader of the "cocktail nation" groups of the early 1990s. These groups, which included Combustible Edison, Nightcaps, Squirrel Nut Zippers and Big Bad Voodoo Daddy were a reaction to thegrunge/alternative wave that swept through America in 1992. Cocktail Nation members celebrated the aesthetics and music of the 1950s and early 1960s — lounge jazz, crooning pop, and martinis. Love Jones played any sort of pop music that could fit that label — pop, blues, R&B, bossa nova, doo wop.
Love Jones started in Louisville in 1990 along with bands like Slint and Palace Brothers, showing the diversity of the Louisville music scene. In 1992 Love Jones moved to Los Angeles and took up a Thursday night residency at the nightclub Largo for a weekly show that featured guest performers like Jon Brion and Mark Flanagan, who eventually performed on Love Jones recordings.
Roy Ruiz Clayton’s debut album, “New Army of Ragged Angels,” produced by Grammy award-winner Chris Goldsmith, is full of poetic images not found since Dylan Thomas or Fredrico Garcia Lorca. These lyrics rank among the most powerful and captivating of modern-day poetry.
The well-crafted melodies are performed and sung with a raw attitude backed by a top-notch band. Roy’s vocals and guitar, along with Michael Jerome on drums, Tom Freund on bass, Marc Ford on electric guitar, Jason Yates on organ, Lily Haydn on violin, Victoria Williams backing vocals and Jimmy Hoyson as recording and mixing master, Julie Lohnes on cover design.
Raised in the steel mill town of Fontana, California, Roy moved on his own to San Diego at the age of 16 where he began writing songs. Often he would muster the courage to play them on “hoot night” at the Heritage Coffee House where the legendary Tom Waits was the doorman. One night in a back room of the Heritage, Tom played Roy a Ramblin’ Jack Elliott record on a turntable and its sound was one that would change forever the young Clayton’s life. Inspired, Roy invented his own songwriting category through years of not being afraid to work and experience the world he writes about.
T. Bone Burnette, has called Roy’s song, “Everyone’s a Detective”, “one amazingly beautiful song.”
Workers are a long stretch of highway on a hot summer night. They are a blanket of pitch-black sky pocked with thousands of points of light. They are your headlights searching the road ahead, a mystery unfolding as you roll forth into the darkness. They are a sense of calm as you roll off into the void, more curious than frightened.
The Louisville, Ky., trio makes lush, atmospheric music that washes over you, pounding your chest and overwhelming your senses with searing guitars, pulsing bass and crackling drums. The lyrics are dark and tangled, the melodies cresting and crashing. You draw comparisons to everything from Jesus and Mary Chain to The Secret Machines before determining that Workers’ music is an experience unto itself.
Workers were formed in 2001 under the name Your Black Star by singer/guitarist Jeremy Johnson and drummer Andrew Osborn, two kindred spirits bonded by their love of bombastic, fearless rock ’n’ roll. Like a lot of bands, the birthing process proved difficult; bassists came and went before a true fellow traveler was discovered in Brandon Duggins.
They have taken a decidedly unorthodox approach to building a fan base. Rather than fall into the trap that some bands fall into, Workers resisted the temptation of becoming a bunch of local heroes who only play before adoring friends and neighbors. Rather, they threw themselves on the crucible that is the never-ending tour, taking the show on the road to test themselves before unfamiliar audiences.
A friendship with the Japanese band Drum:Kan prompted Workers to venture to Japan, where they quickly developed an unlikely connection with rock-starved fans. Tours of Australia and New Zealand provoked a similar reaction, as well as positive international press, and numerous spins on the influential BBC. Overseas buzz led to deals with labels in Japan, England and Australia, as well as a UK tour with indie darlings the New Pornographers, but the band was still a bit of a mystery back home. Seeing this as less a problem than an opportunity, Johnson, Osborn and Duggins spent the better part of
the past three years rampaging through the states, playing in the esteemed South by Southwest Music Festival in Austin and the CMJ Festival in New York as well as sharing the stage with Sleater-Kinney, The Hold Steady and Catfish Haven. “Sound from the Ground,” the band’s American debut, won critical acclaim stateside, tagging Workers with the weighty “next big thing” label. Expectations can stifle a band, but the trio confronted them head on.
In fact, confrontation was the key word with the mid-2007 release of the band’s raw and aggressive EP “Beasts.” For “Beasts,” the band again toured the US, this time with the likes of Pelican, Clouds, Earth and Black Rebel Motorcycle Club. They received rave reviews and found a personal niche, but more importantly, “Beasts” marked Workers’ first collaboration with producer Erik Wofford, known for his work with the Black Angels, Voxtrot, and Snowden. If the band found a direction within the harsh extremes of “Beasts,” they found a true navigator in Wofford, prompting the band to start work on a follow up in late 2007.
The result is the self-titled LP “Workers”, to be released February 6, 2009. On “Workers” the band no longer prompts the obvious comparisons to influences and peers of their previous efforts. Gone is the former preoccupation with sadness, death and depression. The indiscriminate anger of “Beasts” has been replaced with an inspired fire from within. Singer and lyricist Johnson still flirts with darkness, but “Workers” is an album about life. Confident and headstrong, the band veers into more uplifting realms with focused song-writing, powerful arrangements, and a greater sonic palette. An increased appetite for experimentation and atmosphere, coupled with Wofford’s innate ability to capture more than just wave forms in a room creates a rich tapestry of sounds, textures and grooves. “Workers” is both a celebration and an oral history a life in America, but more importantly it is the sound of an American band who has found its true voice. Prefix Magazine once predicted that Workers “may just be the band to spark American indie-rock’s true resurgence.” “Workers” may just be the album to prove it.
To call Block a singer-songwriter is to underestimate the importance of storytelling in his songs. Influenced by the Beat poets, he tells stories of Village gentrification, fake punk rockers and the illusion of an easy marriage songs with lyrics that ring true because of Block’s own life experience.
He emerged from the anti-folk scene in New York’s East Village. His first album, 1996′s Lead Me Not Into Penn Station, met with acclaim at college radio and in the indie music community. Producer Glen Ballard (Alanis Morissette’s Jagged Little Pill) chose Block to be the first artist released on Java Records joint venture with Capitol Records in 1998. That album, 2000s Timing Is Everything, featured the tune Catch A Falling Star the opening credit song for Drew Barrymore’s film Never Been Kissed. When Blocks major label debut sold a paltry 100,000 copies he was unceremoniously dropped by Java, having successfully demonstrated that he would not be their next big thing.
Without a record label and beyond his 20s, Block had a decision to make: continue to plug away on his own dime as an indie artist or quit music altogether. He chose the latter. “I quit because I reached the place where all of your dreams are supposed to come true. When Java dumped me I was 32 years old with a wife and two kids. I had to make money. The music business had vampired the life out of me. I left, thinking that I’d never return.”
Block reinvented himself, morphing into Jamie Block, Vice President of Investments at a major financial firm. “Wall Street was a whole new life. Not even my peers knew that I had been a career musician. I didn’t even listen to music anymore. It pained me, but I didn’t want to know what was new or happening.”
Fast-forward to a rainy morning, seven years later: suburbanite Jamie Block, comfortable in his fancy car, triple latte in hand. “I was driving to work at 6am in the dark, listening to WFUV,” he recounts, “and the great deejay Claudia Marshall played my tune ‘Catch A Falling Star’ (from Timing Is Everything). When the song ended, she asked, Where did you go, Block? Please phone home. So he did what anyone would do I picked up my cell phone and called her!
Block knew he still had some songs inside him. He decided to record a few, just for the fun of it, with no one to please but himself. In this fashion, Block and engineer Mark Hutchins co-produced The Last Single Guy, a new album true to Blocks legacy of wry, literate and occasionally heartbreaking tales of modern, urban life. Block has reemerged for the simplest reason: he loves making music.
The Last Single Guy shows that he never lost his touch. There’s the lament of Ave. A in which that famed East Village streets once-bohemian culture has turned into a punk theme park. There’s the young man in A Sweet Potato Pie with a wife and family at home who still craves the edge of a little drugs and sleaze that he finds in a strip joint. And then theres the invocation of A Color of Heaven, in which Block sings with a universality and compassion that makes this song his most moving to date: In the Chinese shadow / Of the wild America / In the staggering heat of the day / We will all be standing / In the power and the glory / At least I hope so someday.
This album demonstrates an attention to contemporary rhythms that is rare for an artist with folk music roots. The beats complement the lyrics, adding modern groove and syncopation to Block’s lurid tales. In Molly Malone the rhythm section is propulsive and fluid, setting a foundation for the guitar and other instruments to build upon, with each adding its own, distinct coloring. Flugelhorn, Jew’s harp, banjo, drum machines and an occasional full horn section complement layered guitars, piano, Blocks buzzsaw baritone vocals and his ever-incisive lyrics, making this comeback CD the best Block album ever.
He may have been gone for years, but Block is back, wiser and more insightful for what he’s lived and who hes become. He reflects, “It’s fun this time. I’m not trying to be a rock star and the songs on The Last Single Guy were written and recorded in that spirit.” WFUV deejay (and fan) Rita Houston concludes, “Block quit and went away. Perhaps because he went away, these songs turned out the way they did.”
This album is raw. And when I say raw, I mean it sounds almost as if they plugged all their instruments directly into a tape deck, pressed record, and recorded it all in one take. But this is no discredit to album’s producer, Kevin Ratterman of Wax Fang, who seemingly captured the band’s true essence from the lack of overproduction.
You may just do a double-take on the opening track, Shackles Down, thinking you just came across a never-released Rolling Stones recording. That is as soon as you hear lead singer Adam Kramer’s Jaggerish vocal style. But as you venture through this album, you’ll soon understand that The Broken Spurs have created a truly original sound of their own, primarily defined by a barrage of guitar-fueled-cock-n-ball-straight-up rock-n-roll. No wonder they were asked to open for AC/DC in Freedom Hall with songs like these.
The peak of “Natural Disaster” comes right at the album’s midway point, with Jawbanger, a down-right raw and dirty rock-n-roll song that starts with a banging bass line and then whose vocals and guitars start rivaling one another for supremacy. At the song’s bridge, Kramer belts out an in-your-face riding of his Gretsch Firebird guitar’s “E” chord that may just make your own jaw drop, as you realize what Louisville rock-n-roll sounds like. Not one of the songs really seem to disappoint or stray away from the high-energy, guitar-laden spirit the album carries. Other impressive tracks is Shackles Down, Natural Disaster, Runnin, and Steal Your Thunder.
So, for those out there who try to proclaim that “rock-n-roll is dead,” well, here is recorded proof that maybe you should quit with that bullsh*t. And for all you real rock-n-roll junkies, here is your soundtrack for the whole “rock-n-roll ISN’T dead” campaign.
- Jason Ashcraft
A Paste Recommends artist and Starbucks-featured songwriter, Max Gabriel’s music is distinguished by startling lyrics, an unconventional voice, and cinematic textures. At once literary and highly accessible, his songwriting has been compared to that of Leonard Cohen, Randy Newman, and early David Byrne.
His 2007 debut, on NY/Louisville indie sonaBLAST! Records, The Exile of Saint Christopher, was produced by Scott Healy, whose wide-ranging performing and recording credits include Bruce Springsteen, Al Green, BB King, Jackson Browne, and Branford Marsalis. Guests on the record included Bakithi Kumalo of Paul Simon’s “Graceland,” and folk-rock sensation Brett Dennen. Collaborating again, Gabriel and Healy have just released a three-tune EP in anticipation of Gabriel’s sophomore effort (early 2011 release). Those in attendance include legendary bassist Lee Sklar (The Doors, Leonard Cohen, Crosby, Stills and Nash) and Shawn Pelton (Bruce Springsteen, Shawn Colvin).
“You,” from the EP, was recently featured nationally on Fuse’s “Live From Bonnaroo 2010.” Max has played such prestigious festivals as Brooklyn’s Northside Festival (“A free-for-all celebration of New York’s best independent musicians, filmmakers, and artists,” says the NY Times), CMJ, and Washingon’s Strawberry Festival.
Misha Feigin was born and raised in Moscow and is known as one of Russia’s premiere guitarists. When he immigrated to the US in 1990, he left behind an established position in the Moscow arts scene highlighted by his four albums on the Melodia label, features on major radio and television shows, and national and international tours. He began recording free improvised music in 1986 in Moscow with Auction’s Dimitry Matkovsky. He also performed with the Russian pop-folk star Janna Bichevskaya.
Misha perfromed free improvised music at the Vancouver Jazz Festival, at the Birmingham Improv. Festival, and in New York at the Knitting Factory and Tonic, where he also played with Elliot Sharp, Eugene Chadbourne and Ami Denio. Other performances have included John Russell, LaDonna Smith, Davey Williams, Craig Hultgren, Toshi Makihara, Peter Kowalt, Leonid Soybelman, Sergei Letov.
Misha has played concerts in 47 US States, Canada, Israel, England, Scotland, Germany, Switzerland, Sweden, Norway, and Denmark. Russian and English are heard throughout Misha’s dynamic performances, which incorporate original poetry and spontaneous storytelling. He plays classical and acoustic guitars, balalaika, keyboards, harmonica. Misha’s music is a blend of various ethnic idioms and musical styles. His five US releases are “Only One Road”, “Only Once”, and “Dreams” with original folk music in Russian and English on Dreaming People Records, and “Spontaneous Folks’ Music” and “June in Moscow” with free improvised music on Spontaneous Folks’ Records.
Misha’s German release is “Improv Songbook” (together with Robert W. Gerlach). Misha’s latest CD on Leo Records, “Both Kinds of Music”, features duos with Elliott Sharp, Davey Williams, LaDonna Smith, Craig Hultgren, and Eugene Chadbourne.
In 2003, Misha’s reputation as a multifaceted entertainer has been “officially” confirmed by the release of Searching for Irina, a powerful story of the era when the political trials showed signs of Stalin’s horrors, while sex, drugs, and rock’n'roll penetrating the Iron Curtain clashed with the seemingly impervious system.
Now, following Irina’s sold-out success, Fleur Publishing is preparing for the December release of “The Last Word in Astronomy”, Mr. Feigin’s collection of poems with material spanning the last two decades of creativity of this impressive author, winner of the Thomas Merton Prize for Poetry in 2000.
Originally from Jackson, Mississippi, Teneia is quickly making a name for herself in the Indie music scene. Her angelic voice, unique guitar rhythms, and moving lyrics have helped to solidify her growing reputation as a truly gifted artist, one whose dedication is as strong as her music.
One of Teneia’s most recent pieces, “Stand”, earned a placement in the HBO documentary ‘Prom Night in Mississippi,’ featuring Morgan Freeman. “Stand” embodies Teneia’s ability as an artist to address deeply rooted social issues fearlessly and confidently.
Teneia’s folk and soul roots have been developing since the tender age of ten when she started singing in her church choir. It wasn’t long before she realized singing would become her lifelong passion. She has fully embraced her tremendous vocal range which is only exemplified through her remarkable sense of control. With the addition of her unique cord progressions Teneia’s music is a full-bodied experience. She has truly grown to understand who she is as an artist.
Teneia released her second LP “Confessions of a Scorpio” with her bandmates, The Highlands, in 2011. “Love You Thru Words” was picked by the fans to become the first single off of the highly anticipated record because of its soothing melody and profound lyrics. Teneia states, “this record has been the most fun to make and simultaneously the hardest. I had to give up a lot of control and really listen to others to make this record what it should be. Mauriece Hamilton (producer & bandmate) and I have clicked from day one. He really understands me as an artist and really makes me dig deep to find the soul and possibilities that I can achieve in being present in the music. I think this record will be a success because of all the hard work that is being done and the talent that is attached to it.”
Peter Searcy describes his career as looking like a cardiograph read out, “it goes up, comes down, it flattens out, it goes back up. As long as it keeps going I’m good”. No doubt it has kept going. From his early years in the seminal punk band Squirrel Bait to the indie rock of Big Wheel and Starbilly to his prolific solo career, Peter Searcy has never stopped singing. Music scenes and formats might change but Searcy’s passion has remained a constant.
Trained as cellist and nurtured at a creative high school with other like-minded, independent artists (Louisville’s Brown School with classmates, Will Oldham, members of Slint and Freakwater) Peter’s path as a musician was set early on. Says Searcy of his influences, “my initial exposure to music was mostly the singer/songwriter, 70′s am radio stuff I’d hear riding in a car. That stuff still has a huge impact on me”. He adds, “when I started making my own musical choices as a teenager I gravitated towards the more melodic, aggressive music at the time. Stuff like Husker Du and The Replacements. I like to think that my solo stuff combines the best of what I grew up loving.”
Searcy’s music is filled with hooks and an honest, emotional resonance that speaks directly to listeners. It’s no wonder his songs have found their way in to numerous movies and television shows. His song “I Believe” was featured on Oprah and used for a campaign to launch the TV show “Lipstick Jungle”. Searcy has toured extensively in the states and abroad. He has shared the stage with wide array of diverse artists (Bob Dylan, John Hiatt, Bob Mould, Dido and many more). He also stays busy backing other artists on cello and electric bass and producing artists in his studio, Never Nervous Sounds. Searcy shares his 111 year old Victorian home in Louisville with his wife Layla and a menagerie of dogs and cats.
Natalie Felker looks the listener straight in the eye, via her piano and supple voice, and talks you into accepting the dagger — because you know full well that it’s two-sided, and that she’ll accept the other blade. As husband Ben’s guitars start up a sharp squall, you hear why it’s worth the cost: One listen to the bright voices coming in all around to surround you in a reassuring embrace and you’re ready to pick up the dare, the challenge. The Fervor formed around this pair — her voice and keys, his guitar and harmony. Right from the start, Natalie was capable of facing up to piano-based alternative divas, but with the skill and resolve to wrest the inspiration from the affectation. She could be the flirt who always said upfront something more honest than your carefully crafted thoughts. Or she could drop her voice low and quiet, be your confidant and your gospel-chord-pounding witness to raw self-confrontation.
In sharpening its focus, the group added drummer Mat Herron and set out on a slew of live shows in 2007 to support of its first album, “Bleeder.” Michael Campbell was found to play bass, and they again criss-crossed the eastern United States. As they developed their live show, the group began to realize their power as a collective. Meanwhile Natalie continued to craft strong new songs for a band moving toward bringing light to mysteries of personality and intimacy, but without any pretense of a definitive answer and far removed from any calming platitudes.
San Francisco sessions confirmed their rebirth. Under producer Charles Gonzalez, the band holed up at Mission Bells (Jackie Greene, Mother Hips) and Radical Sound (Rogue Wave). Between these two facilities, The Fervor found classic gear and physical ambiance to realize the album they had been hearing, one focused on performance, and not perfection. The West coast style had infiltrated the camp and greeted them like a long lost friend. They returned home to Louisville, where friend and engineer Kevin Ratterman (My Morning Jacket, California Guitar Trio, Wax Fang) mixed and maintained the focus: on the power of what The Fervor can do together in a room. From these sessions emerged “Arise, Great Warrior”. It’s a record that is gut-punching in impact, but life-affirming in its lasting spark and hopeful mysteries.
With often dark and introspective lyrics draped over power chords, The Instruction (a ivesome comprised of Blake Sakal, Stephen Wolf, Jeremy Stein, Andrew Cheyne and Landon Tompkins) have made their mark through relentless and energetic live shows, sharing the stage with everyone from These United States to Thao with the Get Down Stay Down and MC Chris. With their SonaBLAST! Records debut, Failure by Design, the group is ready to move forward into the rest of the world.
Hailing from Louisville, KY, home to such enigmatic and diverse musical icons as Slint, Will Oldham, My Morning Jacket, Rachels and a wide array of 70s punk bands, it shouldn’t be terribly surprising to find The Instruction’s sound as something fresh in the face of an oversaturated indie rock market focused on gimmicks. This is perhaps never more true than with songs like Mayday, Hello Darlin’ & Into the Tomorrow, which display the kind of raw emotion that would be right at home in both the indie charts and commercial radio. While you can sometimes feel vague nods to their influences, Failure by Design is at all times their own, with songs dripping with power chords, pumping bass, and infectious choruses. The Instruction is founded on Stein and Terrell’s hermetic rhythm section with guitars that are abrasive in all the right ways, and at the very core of their sound is Sakal’s vocals, which bring to mind the grit and masculine sexuality of Jim Morrison. Tight production and years of playing together brings the package together, and with a new release, a new record deal, a solid fan base and a series of music festivals on the bill, The Instruction are going to surprise and enrapture you. Listen, Learn, Love.
With their SonaBLAST! Records debut, “and their songs STRAY and YOU’RE MINE being featured on MTV’s hit show “16 and Pregnant”,” Failure by Design, the group is ready to move forward into the rest of the world.
The Seedy Seeds don’t know you, but they already like you. With a completely original sound and presentation, including banjo, accordion and toy keyboard beats, The Seedy Seeds create upbeat, melodic, danceable indie music that is equally at home alongside pop-punk, alt-country, and lo-fi.
The concept for the band was born of a casual conversation in late 2005, in which Mike and Margaret hypothesized performing as a group with the instruments they owned but hadn’t yet learned to play. The Seedy Seeds began writing, performing, and recording music shortly thereafter. Brian joined in 2008 following the release of Count The Days, on which he contributed supplemental percussion. In 2010, The Seedy Seeds signed with sonaBLAST! Records, and re-released Count The Days.
Tim Krekel (1950-2009) was a genuine American original. As a unique singer, songwriter, and guitarist, he dedicated himself to creating music that was -and remains- a real testament to life, love, and rock & roll. Over his four-decade career, Tim’s gifts to the music world have been frequent and plentiful, and he enjoyed success on many different levels.
It is hard to overestimate how many different bands, tours, and songs Tim Krekel saw in his years in the music business. Second to becoming his native Louisville’s ultimate guitar rock hero, Krekel is best know for his years in Jimmy Buffett’s band and, of course, of his songwriting. Krekel provided hits for Rick Nelson, Lonnie Mack, Jerry Reed, Dr. Feelgood, Canned Heat, Delbert McClinton, Martina McBride, and dozens more. In 1984, Crystal Gayle hit #1 with Tim’s “Turning Away,” and Patty Loveless did the same in 1995 with “You Can Feel Bad.”
In March of 2009 Tim Krekel was diagnosed with cancer. By mid June of that year, he was at the final stages of what he described as “a most wonderful life.” Tim was able to pass away under the loving care of his family and hospice on June 24, 2009.
Lucky Pineapple was comprised of an unlikely combination of classically trained musicians, veterans of the Louisville punk scene, theatre performers, improvisational noise artists and all around unique individuals. From their earliest days, since inception in 2004, they have tried to play out of the ordinary shows including art gallery parking lots, Zombie Proms, film festivals, house parties, a student lounge at Transylvania University, as a musical interlude during a teen talent show at the Louisville Free Public Library, frequent appearances on WFPK’s Live Lunch series, cross-dressing events, Louisville Slugger Field (home of the Louisville Bats AAA baseball team), warehouse music festivals, and world renown theaters (such as Actors Theater Louisville). Their live shows have included light shows, video projection collaborations, matching tuxedos, inflatable palm trees, magicians, costumed superheroes, a go-go dancer, their own dance troupe, eye balls, a bubble truck, and a semi-regular group of back-up singers.
The band self-released their debut album The New Rainbow in 2006 and were featured on a Noise Pollution split seven inch with fellow Louisvillians VRKTM that same year. In 2005, recording engineer and Lucky Pineapple friend Mike Bridavsky was at a Tape-Op convention and found himself winning a poker game for which the prize was a free day of recording at Steve Albini’s Electrical Audio in Chicago. After donating this prize to Lucky Pineapple, the band chipped in for a second day of recording. The five songs that came from this session provided the foundation for The Bubble Has Burst in Sky City (2009), and was later filled out with additional material recorded at their home studio. Shortly after a 2008 Noise Pollution release, that album caught the ears of sonaBLAST! Records, who agreed to back it for a national rerelease in August of 2009. Concurrent with the rerelease, the band partnered with local filmmaker Andrew Vititoe to produce their first music video for “Moment in an Empty Street.” The video premiered at the Louisville Film Society’s 2nd Annual Kentucky Showcase of Short Film and Video, to rave reviews in September of 2009. Recently, Lucky Pineapple made their debut performance at a sold out showcase at South By Southwest Music Festival in March, 2010. In February, 2011 the band announced that they had officially ended.
The Old Ceremony draws plays lush, literate rock.
With eight years of touring the US, Canada, and Europe and five albums under their belt, the Durham/Chapel Hill, NC band occupies its own darkly lit corner of the musical world. It is a corner filled with ominous rumblings and world-weary but hopeful characters.
TOC has performed with CAKE, Squirrel Nut Zippers, Chuck Berry, Polyphonic Spree, Mountain Goats, and Avett Brothers, and their sophomore album, Our One Mistake, was included in PASTE Magazine’s “Top 100 Albums of 2006.” Their newest album, Fairytales and Other Forms of Suicide, will be available Aug 21, 2012 on Yep Roc Records.
TOC is led by songwriter Django Haskins, and includes drummer Dan Hall, vibes/organist Mark Simonsen, bassist Jeff Crawford, and violinist/keyboardist Gabriel Pelli.
Collider was an electroclash/punk/rock band formed in New York City in 1997 by singer/keyboardist Jed Davis and guitarist Sean Gould. The duo's combination of electronic beats and synthesizers with rock guitars and pop song structure made Collider an early entrant to the Electroclash movement. In fact, as the genre had not yet been named, Davis and Gould referred to their style as "electropunk".
Between 1997 and 1999, Collider performed regularly across New York state but concentrated mainly on Manhattan's Lower East Side. In addition to frequent gigs at CBGB, the Mercury Lounge and the Spiral, the duo also played monthly at Coney Island High.
Collider's first two albums, Blowing Shit Up (1998) and Physics (1999), were released by New York label Eschatonality, the latter in conjunction with MP3.com.
In 2000, Davis and Gould added a rhythm section of Chris DeRosa on Drums and Tom Kaz on Bass and toned down the electronic elements as the band moved towards straightforward punk rock. In this form, the band came to the attention of Joey Ramone, who invited Collider to open for him at what would be his finalCBGB appearance, on October 18, 2000. This version of Collider was also the support act when Living Colour reunited at CBGB on December 21, 2000.
In 2002, with a new rhythm section of Mike Keaney (bass) and Joe Abba (drums), Collider signed with SonaBLAST! Records and recorded a 6-song EP, WCYF, with original Ramones drummer and producer Tommy Ramone producing. WCYF would be the first album produced by Tommy Ramone since The Replacements'Tim in 1985.
This version of Collider served as the live backing band for Maverick Records singing duo The Deuce Project in 2003, and as a session group for a number of singers and duos in New York City and Boston, Massachusetts. Davis and Gould disbanded Collider in 2004 in order to pursue other projects.
1. In My Balloon- Lucky Pineapple
2. Benjamin- Danny Flanigan
3. Lullabye (by Albert Goldbarth)- Alistair Shell
4. My Baby- Leigh Ann Yost
5. Dream a Little Dream- Justin Lewis with Emily Caudill
6. Shelter for the Night- Arnett Hollow
7. Dream- Carter Wood
8. For My Children: A Lullaby- Ron Whitehead, Harry Pickens
9. Made in Korea (Song for Stinky Pete)- Heidi Howe
10. Down Below- Yardsale
11. All the Pretty Little Horses- Harry Pickens
12. Grey Lady- Sandpaper Dolls
13. Dark and Lovely- Love Jone
Hipster parents looking for music that they can enjoy with their children will be thrilled to hear Louisville Lullabies: Cradle Rockin’ Sleeper Hits. The compilation features 13 musical acts from Louisville performing original and traditional lullabies. Artists include: Carter Wood (a Louisville native who had George Strait record some of her songs while living in Nashville), Love Jones (regrouped for this benefit), Arnett Hollow (Forecastle and WFPK‘s Live Lunch performers), Lucky Pineapple, Harry Pickens (pianist, composer, teacher and organizational consultant), Sandpaper Dolls (amazing a cappella trio), Ron Whitehead (author of 19 books with appearances on more than 20 CD’s), Yardsale (Louisville’s self-proclaimed ‘Second Most Rootin-est, Tootin-est Band‘), Danny Flanigan (performing a song he wrote for his son), Leigh Ann Yost, Justin Lewis, Alistair Shell (Stephen George performing his first released recording), and Heidi Howe (Louisville performer, author and co-producer of the CD). All of the proceeds from the CD benefit the Home of the Innocents.
The CD is the brainchild of Gill Holland, the founder of sonaBLAST! Records, who wanted to do something for his neighbor, The Home of the Innocents, located in the East Market district. Gill produced the CD with Louisville musician Heidi Howe, the founder and director of Louisville Preschool for the Arts
Independent Music For Independent Coffee Drinkers: Volume 1
1. Never Be – Kelly McRae
2. I Get Stupid – Charlotte Kendrick
3. Violet Morning – Jamie Barnes
4. Obi’s Chair – Mark Geary
5. It Rained All Night – BLOCK
6. Poison Pen – The Old Ceremony
7. Wake Up Eleanor – Gabriel Judet-Weinshel
8. Papers In Order – The Old Ceremony
9. Far Away – BLOCK
10. Keep You – Kelley McRae
11. Don’t Turn My Love Down – Jamie Barnes
12. Here’s To You – Mark Geary
“Loggerheads” interweaves three separate but related stories that take place in different parts of North Carolina. On Mother’s Day 1999, Mark, a young drifter with an interest in endangered loggerhead turtles, begins a relationship with motel handyman George. On Mother’s Day 2000, Mark’s adoptive mother Elizabeth wonders what has become of her estranged son. On Mother’s Day 2001, Mark’s birth mother Grace quits her job to begin a search for the child she gave up years before-a search that ultimately brings the stories together. Film produced by Gill Holland. Soundtrack features original music by Mark Geary. Kelley McRae, and Andrew Hunt. Singer-songwriter and folk feel.
1. Cold As It Gets- Patty Griffin
2. Cocktails- Robbie Fulks
3. The Silver Cord- Kim Carnes
4. All For Nothing- Mark Geary
5. Home Wrecker- Grey DeLisle
6. Forgiveness- John Crooke
7. Time- Kelley McRae
8. Momma’s Crazy- Andrew T.Hunt
9. Rowing Song- Patty Griffin
10. Facing The Fall (Grace’s Theme)- Mark Geary with Ann Scott
11. Turtles- Mark Geary
12. I Quit- Mark Geary
13. Flowers- Mark Geary
14. Decision- Mark Geary
15. Ruth Calls- Mark Geary
16. Mark’s Theme- Mark Geary
A thought-provoking drama about the power that a famous university professor holds over his students and assistants. The film was produced by Gill Holland. The score was written and performed by Ceiri Torjussen. The score features piano and electronics, mostly with an ambient sound. Other tracks feature Mark Geary, Andrew Hunt, and Kelley McRae.
1. Opening -Ceiri Torjussen
2. Marilyn -Ceiri Torjussen
3. Sandy Died -Ceiri Torjussen
4. Jogging -Ceiri Torjussen
5. South -Mark Geary
6. Bruised Basil -Ceiri Torjussen
7. Julia’s Tips -Ceiri Torjussen
8. Funeral Arrivals -Ceiri Torjussen
9. The Sweetest Thing -Andrew T. Hunt
10. Coke is it -Ceiri Torjussen
11. Seducer -Ceiri Torjussen
12. Body Watcher -Ceiri Torjussen
13. River -Ceiri Torjussen
14. Crabbing -Ceiri Torjussen
15. Never Be -Kelly McRae
16. Emergency -Ceiri Torjussen
17. Carter Leaves -Ceiri Torjussen
18. I’m Back! -Ceiri Torjussen
19. Hold Tight -Mark Geary
20. Burial -Ceiri Torjussen
21. Opening Letter -Ceiri Torjussen
22. Ride With Me -Ceiri Torjussen