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CMJ says Bedouin’s “Bright Lights” video “explores the disconnectedness one can feel when stuck in one place for too long.”

Bedouin is the type of artist you can recognize immediately simply from her music. The songstress is based in L.A., yet her distinctly nomadic spirit makes it a real struggle to ever catch her in the spotlight. Last year, her self-titled debut EP revealed her dreamily hypnotic sound, and today we’re premiering the video for the EP’s single, Bright Lights.

Just like Bedouin’s music, the video explores the disconnectedness one can feel when stuck in one place for too long. With distant and prolonged panoramas of L.A., the video is much less an homage to the city than it is a visual representation of the singer’s wanderlust. As the scenes progress, you can see her gradually get lost in visions of herself dancing in an obscure, grassy, woodland clearing. Now you can get lost in Bedouin’s world too by watching the video below. WATCH HERE…

by Baby Robot Media

Blah Blah Blah Science compares Bedouin to Cat Power, Mazzy Star’s Hope Sandoval & Dusty Springfield

The precise focused pensiveness of Cat Power, the windswept far-away aesthetic of Hope Sandoval and the warm at-ease tone of Dusty Springfield are a few introductory aesthetic touchstones for newcomer L.A. artist Bedouin. But rather than a sum of a resume of influences or a one sheet of hyperbolic praise and notions, the worldly well-traveled Bedouin (she grew up admist an amalgamation of different cultures and environments) sings and composes from a broader and, as is evidenced in her music, immensely affecting place that is completely her own. We’re privileged to premiere the stunning “Up All Night” from Bedouin’s forthcoming s/t EP. LISTEN HERE…

by Baby Robot Media

Creative Loafing previews Lily and the Tigers’ album release party & features album finisher “Last Mosquito”

Lily and the Tigers have a new album out: The Hand You Deal Yourself was officially released yesterday. The Atlanta folk trio recorded the 30-minute album in the Vermont woods, and the band funded its release through a Kickstarter.

The band plays a free album release show at Octopus Bar on Thurs., March 13. Before performing inside, the trio will play an intimate set around a bonfire behind the bar.

Here’s “Last Mosquito,” the final song off The Hand You Deal Yourself that features gentle guitar accompaniment alongside singer Casey Hood’s soothing voice. LISTEN HERE…

by Baby Robot Media

Speakers in Code calls The Wild’s “Dreams Are Maps” video “something new and perfect and familiar.”

There’s so much that’s just said in the name of this band, and the name of this song, before you even get to the video: the fierce and shaky camera work, the half punk, half bluegrass sound, the lyrics that are driving towards something new and perfect and familiar. It’s driving and mesmerizing and holy Lord, I want that orange pick up truck. This is my anthem for this year, loud and full of battering banjos and snare drums and fuck you lyrics. The escape of this video is what I want in my life. VIEW HERE

by Baby Robot Media

Paste premieres Party Dolls’ “Firecracker” from their debut EP, Love Wars Baby

Party Dolls, the collaboration between Tedo Stone and The District Attorneys, has a Valentine’s Day present for you. The band’s debut LP Love Wars Baby is set for release on Friday, and the unconventional release date celebrates the collaborations beginnings. It wasn’t long ago that the District Attorneys were invited to play a Valentine’s Day Show with Athens band Ponderosa, but with half their members unavailable (Oh, to be unavailable on Feb. 14, right?), they improvised and wound up on stage with Tedo Stone and friends. District Attorneys frontman Drew Beskin provided the songs, which included more personal compositions he’d penned. READ MORE

People’s Blues of Richmond

To set up an interview with PBR, or get your hands on press passes, advance music, hi-res photos, album art or videos, contact stevealbertson@babyrobotmedia.com.

BIO

People’s Blues of Richmond brings a carnival-like mayhem to their dark, blues-infused psychedelia. Their new album, Good Time Suicide, is a study in excess, brimming with ballads of drugs, vice and murder that sonically recall early Led Zeppelin, only weirder and with a modern sheen. Word is starting to spread about the manic intensity of the band’s live performances as they burn up the road in support of Good Time Suicide, sharing bills with a diverse collection of bands—from Ghostland Observatory and Black Joe Lewis to Galactic and Flogging Molly.

People’s Blues co-founders and lifelong friends Tim Beavers (lead guitar/vox) and Matt Volkes (bass, vox) began playing music together in college as a way to grieve the loss of a mutual friend. Those bleak, drug-fueled days pushed the two into a maelstrom of songwriting and camaraderie that led to their debut LP, Hard-On Blues. Recorded in just two days, the record teems with urgency, transcendence and raw, primal emotion. The band wasted no time in hitting the road behind the release, galloping off on a year-and-a-half-long endurance test of live dates. During this tour, original drummer Raphael Katchinoff introduced the band to Tommy Booker, who left behind his more subdued life in NYC to play keys with People’s Blues on the road, and write and record with them back home in Richmond.

The band’s sophomore release, Good Time Suicide, came together in a time of flux. Busy with new side projects and tired of the constant touring, Booker and Katchinoff decided to leave People’s Blues as soon as the record was finished. Undaunted, Beavers and Volkes pressed on, paring down to a three-piece and bringing on local hotshot Neko Williams (son of Drummie Zeb of legendary reggae band The Wailers) as their new drummer.

“It was a wild time,” Volkes says, “because we were simultaneously practicing with Neko and recording with our old drummer, sometimes on the same day.”

Good Time Suicide was recorded and produced by Adrian Olsen (Futurebirds, Steve Wynn) at Montrose Recording in Richmond on the exact same handmade ’68 Flickinger board used to record T. Rex’s Futuristic Dragon.

“There was definitely a vibe to the sessions,” Beavers says. “We had the songs down so well that we could’ve easily nailed them all in one take, but instead we took the time try new things—space-echo on the drums, layering multiple amps to get just the right sound. And if you got frustrated you could just walk out behind the studio and chop some wood.”

Good Time Suicide is a debauched album wrapped in an ecstatic, celebratory delivery, lead track “Cocaine” spilling forth with a raw, rootsy gypsy/klezmer feel. “I’d been off of drugs for six months,” Beavers says, “and I wanted to write a tongue-in-cheek song about being strung out. For percussion we pounded a steel chain on the bass drum and banged on some pottery we found outside.”

“Black Cat” sets pulsing mad-scientist organ to the narrative of two addicts slowly tearing each other apart, while on “Free Will” and “Nihilist,” the band wrestles with the ideas of destiny and futility. “I just screamed at my ceiling with my acoustic guitar while writing ‘Free Will,’” Volkes says, “and in that same vein, ‘Nihilist’ came out like a temper tantrum.”

People’s Blues is currently on the road touring behind Good Time Suicide and has been busy crafting a whole new set of eclectic, blues-infused psych rockers. “It’s working out really well because we all have the same dream,” Neko says. “ We’re hungry for it.”

“It’s more than that even,” Volkes adds. “This band—we look out for each other. If I have a sandwich, Tim and Neko get a bite. It’s like we’re brothers.”

“The whole concept behind People’s Blues of Richmond,” Beavers says, “is that we all struggle, we all experience pain. Life is full of highs and lows, and we all work hard to survive. So we do the only thing we know how—we get out on the road, and we keep moving forward. We become a part of something bigger than ourselves.”

LINKS

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