Search Results for: Расстановки родовые Skype Зуму Viber Расстановки по Хеллингеру запись на расстановку skype:amt777

Website * Facebook * Twitter * Spotify

Kansas City rock & roll powerhouse the Pedaljets have spent decades flying just under the radar. From their inception in 1984, their raucous brand of scuzzy, melodic jangle-pop and jagged post-punk placed them in league with some of the decade’s most beloved rockers, from The Replacements and Hüsker Dü to Meat Puppets and The Flaming Lips, all of whom the Pedaljets have performed alongside on stages across the United States. Their music has received critical acclaim from countless publications, including The A.V. Club, Diffuser.FM, Uncut Magazine, Blurt Magazine, The Big Takeover, and the notoriously critical CREEM Magazine. Twist The Lens continues to build upon the legacy the Pedaljets have created over the past three decades, showcasing the comfort and maturity of their years spent performing together as well as the electric fervor that has permeated their music since the beginning. 

Twist The Lens is only the second new release from the Pedaljets since their reformation in the late 2000s, arriving six years after their most recent LP, What’s In Between. While What’s In Between served as a reintroduction to the band’s Midwestern college rock, Twist The Lens finds the band pushing themselves further than ever before, abandoning the constrictions of genre and focusing on expanding their sound. At its core, the melodic, proto-grunge sound that characterized the Pedaljets’ earlier releases still reigns supreme, but with a deeper exploration of melody, harmony, and pop-rock influence, as well as a newfound writing ethos that allowed the members to push themselves into unfamiliar sonic territory. Vocalist/guitarist Mike Allmayer says, “When I demo a song, I always have ideas for arrangements and all the other parts. But then once the band gets to work on it, I’m like, ‘Well this is going in a totally different direction, but it’s great.’ That’s the beauty of working with these guys for thirty-five years. Some of the directions we’d take with these songs took me outside of my comfort zone at first, but we decided to follow them down that road and it always led to something better.”

Twist The Lens was recorded in three main sessions, produced by the Pedaljets alongside their former lead guitarist Paul Malinowski (Shiner, Season To Risk). Though the Pedaljets core trio of Allmayer, bassist Matt Kesler, and drummer Rob Morrow has remained a constant throughout their tenure as a band, they’ve worked with multiple lead guitarists throughout the years, with Twist The Lens being the first record to showcase their newest addition, Cody Wyoming. Bringing in Wyoming, and working alongside Malinowski, allowed the new songs to benefit from a fresh and outside perspective, while still keeping the album within the Pedaljets family. It also lent itself to a more utilitarian process where, as Allmayer describes, “We would constantly listen back and ask ourselves, ‘Are you hearing something this song needs?’ We were really focused on pushing ourselves to make the best music we can and being extra critical.” To round out the team, the band brought in veteran producer John Agnello (Sonic Youth, Dinosaur Jr., Kurt Vile) to mix the record and reunited with Archer Prewitt (The Sea and Cake) whose artwork has adorned the last three Pedaljets album covers.

Kicking off the album, “Disassociation Blues” explores the intricacies of romantic communication, with Allmayer’s hypnotic vocals drifting atop a repeating, post-punk channeling guitar line. The track continues to build throughout its three and a half minute run time, adding sparkling layers of guitars to create a soundscape that’s equal parts R.E.M. and Joy Division. “Downtown,” meanwhile, takes its sonic cues from Tom Petty, with Allmayer’s lyrics painting in broad strokes, creating a skeleton framework of hopelessness for listeners to fill in with their own experiences.

Elsewhere on the record, Allmayer delves into an examination of loss. “Twist The Lens” postulates that there’s no permanence and that everything is inherently fleeting as Allmayer sings, “When you twist the lens / you can’t go back again.” “Sleepy Girl,” on the other hand, is a beacon of light in the darkness. Written in a particularly tumultuous period in Allmayer’s romantic life, “Sleepy Girl” observes budding romance from afar as a reminder that even in the times when you’ve lost everything, there’s hope for something beautiful to arise.

Once hailed as “Kansas City’s answer to the Replacements,” the Pedaljets formed in the mid-80s and immediately began touring the United States nonstop, gaining critical acclaim and support slots with some of the decade’s biggest acts, but never becoming a household name on their own. After releasing two LPs, 1988’s Today Today and 1989’s Pedaljets, the band split up. After laying low for a few years, Allmayer and Morrow formed the band Grither and signed with MCA before Morrow decided to go back to school and relocate to Scotland. Kesler brought his talents to the jazz world, performing in the Midtown Jazz Quartet alongside Count Basie Orchestra guitarist Will Matthews, while also owning and operating the Kansas City vintage music shop Midwestern Musical Company. The Pedaljets couldn’t stay apart forever, though, and returned in 2008 with a re-recorded version of their self-titled album and a rekindled hunger to perform.

The culmination of a long musical journey for the Pedaljets, Twist The Lens contains some of their most masterful songwriting to date and reinforces their status as one of the Midwest’s greatest musical exports. 

Facebook * Twitter * Bandcamp * Spotify

Los Angeles’ Wyatt Blair can’t stop. A physical manifestation of inertia, Blair has been a musical object in motion since his father taught him to play the drums at 13 years old. In the years since, he’s spent his time playing in numerous bands, producing bands albums, releasing four self-produced solo albums, and founding the LA-based record label Lolipop Records, through which he helped break a new wave of young garage rockers out of their neighborhoods and into the world. His previous releases garnered praise from Pitchfork, The FADER, Spin, Uproxx & more, and led to support slots alongside acts like The Growlers, Broncho, Screaming Females, Peach Kelli Pop, Cosmonauts and more. Now, after a tumultuous year and relocating from Los Angeles to Flagstaff & back again, Blair is taking some time to help himself the only way he knows how: Channeling his struggles into massive arena rock/power-pop songs on his new EP For The First Time.

For The First Time, out December 6th via Lolipop Records, comes on the heels of last December’s Inspirational Strawberries, Blair’s second LP of 2018 that found him indulging his ’60s psych, ’80s pop, ’90s Brit-rock influences in equal measure to stunning effect. Recorded in his home studio in Flagstaff, Arizona, For The First Time was originally conceptualized as a full-length LP before Blair decided to cut it down, with the remaining four tracks stripping away the varnish that coated his 2018 releases in favor of raw, emotionally vulnerable power-pop. “I think maybe I was trying too hard in the studio on my last couple of albums to add more instruments on a track, or cut things up more,” he says. “With For The First Time, I just wanted to write some straight pop-rock tunes.”

Much of For The First Time deals with Blair’s struggles with mental health throughout his life, his recent experiences with medication, and how music helps him process his emotions. “Writing music is a compulsion for me — it’s my outlet,” says Blair. “Everyone has an outlet, some way of combating mental and physical conflict in their life. Music is my creative gym, honestly, it’s the way that I work through my neuroses. It’s a compulsion in the sense that, I need to do this for my health.” The most poignant example comes from the EP’s closing track, “Fear To Fight,” a strutting 80s-pop empowerment anthem that emphasizes the fear of taking the steps to improve mental health. “All these fears, the fear of opening up, fears of dying, fears of upsetting someone, fears of losing control, the fear of talking to a therapist or doctor about your issues… I’m just saying ‘fuck all that’, we’ve all got that fear built in to us, but we’ve just gotta keep fighting the fight of life in order to get somewhere at all.”

Elsewhere on the EP, Blair explores crises of identity and emotional vulnerability atop his specific style of deceptively upbeat guitar pop. On “Pop Your Heart Out,” Blair encouragingly sings of wearing your heart on your sleeve and being unafraid to be yourself. Meanwhile, on “(I’ll Keep) Searching For You” he grapples with his past and future, backed by layers of shimmering synthesizers, crunchy guitars, and a thumping rhythm section. “It’s about self-reflection, always trying to find who you really are,” he says. “I know I’ve been through some shit, I know depression & anxiety have affected me in lots of ways, but I’m still searching for myself after it’s all said and done, and part of that trust in yourself & the world around you is in the constant searching, and I won’t stop.”

“Like his garage rock contemporaries White Reaper, Blair mixes in elements of arena rock and glam rock to his sound, highlighted by the melodic guitar leads and blazing guitar solo. While entirely modern, it’s not hard to envision kids in the ’80s, wearing acid-washed jeans, pumping their fists along with the anthemic verses and chorus.” – mxdwn

Facebook * Instagram * Spotify

Whether you know it or not, you’ve probably seen and heard Gus Seyffert. For the past decade, he’s spent his time on the road with Sia, Norah Jones, The Black Keys, Beck, Roger Waters, & more, performing in sold out arenas as a hired gun. In between tours, Seyffert has honed his skills as a producer, working in the studio with artists like Michael Kiwanuka, Beck, Jenny Lewis, Dr. Dog, Bedouine, James Supercave and more. Now, after years of working behind the scenes, Seyffert is taking the spotlight for himself. His brand new 7-inch, “Hold On” b/w “Make It Out” showcases Seyffert’s songwriting prowess and ear for effortlessly catchy melodies. 

Though the new singles are the first tracks to be released under Seyffert’s name, he’s no stranger to writing and recording his own music. For years, he performed and recorded under the name Willoughby. With these tracks Seyffert decided it was time to present himself as a solo artist. “The lack of distance that comes with using my name as the project name makes me a little uncomfortable and very precious,” he says. That extra pressure is really motivating—even if my music’s not for everyone, I want it to be well-crafted enough to be respected.”

“Hold On” is a mesmerizing, downtempo psych-folk track that deftly navigates the minutiae of modern romance and communication, while Seyffert’s beautifully whisper-crooned vocals manage to impart both heartache and adoration in equal measure. “Make It Out,” meanwhile, finds Seyffert pulled in opposite directions, struggling to reconcile with his vices, his personal life, and his desire to grow. “It’s about getting away from yourself, “ he says. “Just wanting to change yourself, or your job or relationship or habits, but coming to that realization of ‘As much as I’d like to do that, I’m probably not going to.’”

Seyffert began studying music and production as a child growing up in Kansas City, MO, and began playing professionally at 15 years old. Music quickly became his life, in no small part as a response to his struggles with dyslexia. “I went to a performing arts school that had a recording class,” says Seyffert. “Since I’m dyslexic, I was really terrible in all of my other classes, but music made sense to me. So I just took all the music classes I could and learned how to work with 8-track tape machines and pretty much immediately started building a home studio.”

At age 17, Seyffert left Missouri for Los Angeles to study jazz bass at California Institute of the Arts. Once in the city, he expanded into different styles of music; meeting and working with the high-profile musicians and producers that would eventually lead to a full-time touring schedule. In fact, Seyffert’s success as a sideman delayed his own artistic endeavors for years. “For the past decade or so I’ve been trying to do my own thing, make my own records,” he says. “But when you get offers from folks like The Black Keys and Beck and Roger Waters, I mean, You don’t say no.”

After being sidelined by his own success, Seyffert is now establishing himself as a songwriting force to be reckoned with, a producer to be sought after, and a performer capable of holding his own alongside legends. On “Hold On” and “Make It Out,” Seyffert’s talents are abundantly clear. It’s evident there’s nothing standing in the way of Seyffert’s solo career if he wants it. 

Website * Facebook * Instagram * Twitter * Spotify 

Alan Barnosky // Lonesome Road EP (Jan 17)

Durham, NC (by way of Michigan) flatpicking guitarist and songwriter Alan Barnosky expertly crafts Americana songs that detail the life of a modern troubadour. His critically acclaimed debut Old Freight, which was noted as being “a fantastic album, full of clever guitar work, excellent vocal performances, and punchy arrangements“ put him on the map as an artist to watch. Since its release he’s been a festival and showcase regular, appearing at the 2018 IBMA Songwriter Showcase, receiving an honorable mention at the Telluride Troubadour Contest, showcasing at the Southeast Regional Folk Alliance conference, and opening for genre mainstays The Steel Wheels, Robbie Fulks, and Charley Crockett. In addition to his work as a solo artist, he has performed with bands at the IBMA World of Bluegrass, Grey Fox Bluegrass Festival, and Bristol Rhythm and Roots. 2020 sees Barnosky poised to build on this momentum with the release of his sophomore work, Lonesome Road, an EP that spotlights instrumental prowess while remaining true to the honest songwriting, authentic delivery, and no-nonsense production for which he has become recognized.

Lonesome Road begins with a driving guitar rhythm and shuffling fiddle, opening out into blistering layers of solo trade-offs between mandolin, fiddle, and guitar. On the title track, Barnosky delivers the perfect high country, old-timey vocal tone as he advises: “If you ever get trapped, if you get unlucky, get on down that lonesome road.”  

“It’s generally bad advice to run away from your problems,” he laments with a smile. “But once in a while a shift truly is needed and it’s time to cut your losses.”  

“Might Be a Call”– a standout track — was inspired in part by the music of genre luminary Bill Monroe, an influence made clear in both the song’s lyrics and minor-key, modal arrangement.  “A lot of Bill Monroe’s songs have themes of loss,” Barnosky reminds us. “I was listening heavily to Monroe when I wrote ‘Might Be a Call’. It is about somebody who’s gone but you still feel their presence, and there’s a palpable uncertainty there.”

The more tongue-in-cheek “Beer Cans and Quarters” uses tropes from classic country songs to tell the story of a lost soul rambling for a new home after hard times. Barnosky recounts that a friend had once used the phrase “beer cans and quarters” and the song idea immediately struck. He penned the lyrics and melody shortly thereafter. While not autobiographical, anyone who has experienced disappointment or struggle can identify with its themes.

Barnosky was compelled to face and conquer some testing medical challenges in the early stages of the EP’s production. An enigmatic physical malady caused vocal damage and he wasn’t able to sing — or even speak comfortably — for several months. The band had no choice but to put the project on hold, and Barnosky had to face the possibility that his singing career might be over. Luckily, with time the condition receded and he was able to resume recording in late 2019.

This challenge strengthened the tone of resolve within Barnosky’s songs, and the EP is all the better for the experience. This acoustic masterclass was recorded at Arbor Ridge Studio in Chapel Hill with Jeff Crawford serving as lead engineer. Performers on the album include fiddler Jack Devereaux (formerly of Town Mountain), Robert Thornhill (mandolinist for Hank, Pattie & The Current), and bassist David Kinton.

A lifelong musician, Barnosky began playing bluegrass in his late teens as an upright bassist and only started singing and writing in his mid-twenties. “I moved from Michigan to North Carolina in 2012, and fit my most essential belongings into a 4-door car,” he recalls. “Unfortunately an upright bass would have taken up just about the entire car, so that got left behind – but I did squeeze in an old acoustic dreadnought guitar.” Then, living in a new place without a bass or bandmates to play music with, Barnosky starting flatpicking, writing, and working on his singing voice. A couple of the songs on Lonesome Road were first penned during that period.

An avid backpacker and cyclist in his spare time, Barnosky grants that a lot of the album was inspired by nature and his extensive time outdoors. A two-month solo bicycle tour quite literally served as the material for the title-track “Lonesome Road.” His new EP channels this experience–the life of a modern hobo making his way down the road to see what the next moment brings.

“A riveting composition of Appalachia and heartfelt folk. Barnosky delivers a kindred mix of Ralph Stanley and David Rawlings, an earthy joy where pioneering meets the modern.” – Glide Magazine

“His lonesome bluegrass-tinged folk sound is perfect for these haunting times. The subtle harmonies on the chorus seep through to your soul. If you’re looking for a sound that’s as fresh as these first few mountain snows, give Barnosky a spin.” – Ear to the Ground