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Meet Steve Albertson and Steve LaBate of Baby Robot Media in Hollywood

Today we’d like to introduce you to Steve Albertson and Steve LaBate.

Thanks for sharing your story with us Steve and Steve. So, let’s start at the beginning and we can move on from there.
Steve LaBate: Well, it was a long and sordid road to make it to this point. In the early days, it was a lot of starving ourselves, maxing out our credit cards, working in shitty warehouse spaces filled with rabid squirrels and poisonous spiders, and once even being indirectly shot at while the police were trading fire with some nut across the street from our office. Through our open door, we could see the stray bullets rustling the leaves of the trees out front.

But let’s back it up a bit. Before all this, I was an editor at Paste for seven years during the magazine’s print era. Though I was eventually laid off during the recession of 2010, my years as a music writer and editor—which had me constantly on the receiving end of pitches from top publicists—was the best training I could’ve had for what was to come.

Steve Albertson: Me, I’ve graduated from my high-school days of weed, hardcore punk and Dungeons & Dragons 2E to caviar, fine scotch, ’70s punk and Dungeons & Dragons 5E. In between, I got a film degree, played in bands like Dr. Killbot, SEX BBQ, illiterates, Epic Levels and SP’s. I lived in Chicago, Atlanta, Rio de Janeiro and now L.A. I’ve been a radio and podcast host [check out Albertson’s Total Movie Recall]. I also wrote Image Comics’ Ghost Spy miniseries, and have worked on dozens of films, including guerrilla-marketing videos for Dr. Pepper and Late Night with Jimmy Fallon, plus a bunch of my own short films, documentaries and music videos.

Baby Robot Media is a music publicity and media service agency with employees in Los Angeles, Memphis, Atlanta & New York and represent musicians from all over the world. We specialize in promotional ( PR ) campaigns for albums, singles and videos, tour press, radio, music video production, music marketing, social media campaigns, Spotify campaigns and creating promotional content. Our mission is to help great unknown bands reach a wider audience and to help already successful artists manage their brand identity and continue to thrive. Our music publicists have over 50 years of combined experience in the music industry. We are known as one of the best in the business.

by Baby Robot Media

Atwood Magazine praises Tiger March’s new single “Hold Something”

Love is a shot in the dark – a you’ll-never-know-unless-you-try leap of faith feeling. At some point, someone has to put themselves out there – someone has to make the first step, and Tiger March’s new single is that first step. Bursting with shimmering warmth and glitzy synthpop, “Hold Something” is a sweet invitation for romance and intimacy – for diving a little deeper, and getting a little more.

Atwood Magazine is proud to be premiering “Hold Something,” the lead single and title track from Tiger March’s forthcoming debut album, Hold Something (independently out March 23, 2018). The married duo of Los Angeles’ Annie and Matthew Gleason, Tiger March formed in late 2014 through a Craigslist posting: Both were looking to work with like-minded musicians, and began a long-distance collaboration that turned into a friendship, which turned into love.

But first came “Hold Something,” a song about going for it – about late night confessions and last-ditch efforts for a fairytale beginning. READ MORE…

by Baby Robot Media

Saving Country Music reviews Dallas Moore’s Mr. Honky Tonk

There’s still a few Outlaws left. And no, we’re not talking about 5’4? guys signed to Big Machine Records, or stadium acts with Ray-Ban Aviators permanently affixed to their faces. We’re talking about the guys who believe the term “Outlaw” is synonymous with fierce independence. We’re talking about guys with door deal gigs and vans, not buses. True Outlaws. And chief among their small, but fervent ranks is singer, songwriter, and frontman Dallas Moore.

Dallas Moore has been around now for many years, mentioned on Saving Country Music many times, but has never had the spotlight squarely affixed upon his position in a dedicated fashion, primarily because heretofore, his recorded output was often met with mixed results. Please don’t take that as a dig at his previous albums. With fierce independence often comes a lack of resources, which presented themselves in some of his early records.

Outlaw artists like Dallas Moore often believe in writing their own songs, and sometimes producing their own records, which doesn’t always allow them the benefit from outside help to take an album or a song from good to great. There’s no major label dough being thrown around here. There’s no highfalutin’ managers to help open doors and secure fat cat underwriters. These are grassroots efforts. It’s of the people. It’s just Dallas and his posse, which at times in the past has meant sometimes things in the studio were a little messy. But they were always real, and they still resonated with lots of people. But you also knew that Dallas Moore was capable of more, and when he showed it, that would be the time to take the conversation with him more national.

Finally we have that record that when someone asks you, “Dallas Moore? Where should I start?” you have a solid answer. Produced by Dean Miller—who is the son of Roger Miller—Mr. Honky Tonk is Dallas Moore’s most refined, polished, and professional album yet, but without compromising any of the grit and attitude that has earned him such a dedicated following and the “true Outlaw” moniker.

by Baby Robot Media

Glide Magazine lauds Atlanta indie-folk outfit Book Club’s new single “It Takes A Thief”

While Book Club’s lineup has changed and expanded over the years, founding frontman, guitarist, singer and songwriter Robbie Horlick’s vision has remained the driving force. His laidback voice, emotive and winsome, alternately evokes a shimmery pastoral beauty and deep shades of despondent darkness. The impressionistic lyrics don’t specifically describe events as much as arouse emotions.

On Book Club’s ethereal yet riveting new third LP, Dust of Morning(out April 6), the melodies and tempos never feel rushed. Rather songs such as “I Heard a Distant a Call,” “Honest in Disguise” and “When the Bells Rang Out” beckon the listener to float, drift and dream along with the set’s predominantly acoustic instrumentation. READ MORE…

by Baby Robot Media

The Vinyl District reviews Cheap Tissue’s first LP

Cheap Tissue, S/T (Lolipop) The first LP from Los Angelinos Cheap Tissue delivers solid dual-guitar ’70s punk action, which is appropriate as they’ve shared stages with The Vibrators, Zeros, and Slaughter & the Dogs. Pulling off this sorta thing across a full LP is a difficult trick, but these cats don’t falter, in large part because they rage a little harder did than most of their root influences, and get the job done in under 25 minutes. This makes for a pogoing good time, but they also keep a handle on the melodic thread, with a handful of these dozen cuts accurately described as catchy, a factor enhanced by occasional vocal harmonies amid the raw-throat roar. The Damned and Dead Boys comparisons aren’t off target, and if you need a record to help delay wearing out your copy of L.A.M.F., then step right up. A-

by Baby Robot Media

Americana UK Premieres Sir Canyon’s “Ventura Skies” (Independent, 2018)

For those not familiar with Sir Canyon, they are a collective of musicians fronted by former Hank Floyd member, Noah Lamberth. After his previous venture decided to call it quits after a series of high-profile support slots, Lamberth didn’t think he would continue with his music and pursued a brief career making documentaries and television shows however, after the loss of his father and a romantic breakup he began writing songs in his downtime, as a catharsis of sorts, and his friend and producer, Andy Davis encouraged him to record an album which (with the help of some former bandmates from his time in Katy Perry’s band) would eventually come to life as the mexican/surf/country record ‘Ventura Skies’.

On the record itself, whilst channeling the sounds of the LA/Laurel Canyon scene and without the pressure of any labels, Sir Canyon manage to achieve their own unique sound as they blends different styles of music and influences, seamlessly, which led the record to gain it’s own identity – a cinematic sound described by the group as “Cosmic Americana”.

The record begins with ‘Angeleno Daydream’, a song that begins with the familiar country sound of an acoustic guitar layered with an electric lead. Lamberth’s vocals have a certain laid-back delivery accented with reverb which add to the desert country sound of the track akin to Marty Stuart’s latest release, and conjure images of faraway places in the head of the listener..