Performer is excited to premiere the new track “Rickey Henderson” by Philadelphia up-and-comer Ryan Stapleton. “Rickey Henderson” is a steady-churning electro-pop ballad about a stolen heart— a great track for a long late night drive to clear your head. It’s also a wonderful blend of analog and electronic soundscapes, taken from his upcoming maxi single “Vibrate Your Body” (due out July 7th). Listen below and sound off in the comments section. Enjoy! LISTEN HERE…
The San Francisco garage surf rock band, Jet Trash has released a new single entitled, Photography is Over. This band has just emerged in the last couple of years, but they’re enjoying some nice attention for their upcoming debut self titled EP due out on July 14th on Burger Records imprint, Wiener Records.
Jet Trash know what it means to be a quintessential West Coast band. They proudly carry the torch of their predecessors The Sonics and The Ventures, joining the ranks of aforementioned Bay Area contemporaries Ty Segall and Thee Oh Sees in cranking out modern indie-rock updates on classic ’60s garage-surf. Armed with vintage Fenders and reverb-soaked tube amps, the band’s energetic lo-fi anthems have a youthful immediacy, their massive hooks curling like breaking waves. It’s a sound that has already won the hearts of Jet Trash’s hometown, The Deli SF voting them one of the best up-and-coming bands of 2014 and The Bay Bridged dubbing them “the cream of the crop” of San Francisco locals.
It’s nice to see new local bands doing well! Enjoy this summer time rock track that’s perfect for jamming while heading to the beach on (rare) hot days in the Bay Area! LISTEN HERE…
Ben Trickey wowed the pants off of me with his release Rising Waters a few years ago. Ben’s been quiet since then but he hasn’t been silent. Instead of a full-length, Trickey’s been releasing a…trickle…of 7″s and live albums since. Alabama, released today, is the last in the series. LISTEN HERE…
A dark carnival of psychedelia greets fans in the new video from People’s Blues of Richmond, premiered exclusively on Crave. An angular, blues-infused haunt consumes the power trio’s new single “Gone Gone Gone,” produced & engineered by Mark Neill, the man behind The Black Key’s platinum-selling, Grammy-winning Brothers record.
Alternating between stark black and white and vibrant color, the Crave-exclusive clip captures the band’s seedy charisma, pulling us into a psychedelic dreamland of mysterious sirens, flophouse destruction & good ol’ drug-fueled rock & roll mayhem.
“The reason we pursued Mark—we already had a pretty firm grasp on our frenetic live sound but making a song sound beautiful in the studio is a whole other animal,” says singer-guitarist Tim Beavers. “Mark’s sound doesn’t come from a million digital studio tricks on his computer, but from a diligent set up, an intimate understanding of sound, and a belief in himself, his gear and in the bands he’s recording. Working with him, we learned how to push ourselves harder than ever before.”
Check out the wild trip of a video for “Gone, Gone, Gone” exclusively on Crave: WATCH HERE…
Fifties girl group crooning and echo chamber drums. Sixties wall of sound. Seventies California canyon sway. Eighties laser-sharp production. Nineties alt-country twang. Aughts vocal callbacks from Neko Case to Jenny Lewis to Bethany Cosentino of Best Coast. Such is the stylistic chronology of indie-pop outfit Sydney Eloise & The Palms, whose latest single, premiering here, cherry-picks from 50 years of influences.
“Sorry, Not Sorry” has an unmistakably millennial title, but every note of it nods to predecessors. And with decades of backup, what could have been a flippant, hashtag-ready kissoff sounds instead like a rich, substantial reflection on getting out from under a bad situation.
Frontwoman Sydney Eloise said in an email that she wrote the song trying to maintain some dignity in the end of a relationship:
It may seem like a song of rebuttal, retaliation or revenge, but really “Sorry, Not Sorry” is me putting my hands up — getting to that point of numbness in a relationship where you can no longer carry another person’s emotions on your back … For me, this song is about reaching that moment where I had to stop thinking about this other person’s feelings because it was time to acknowledge my own. Like, “sorry this may hurt, but I’m not sorry for speaking my truth.”
Her low voice, indulging in few flourishes, flirts with nonchalance in the same way Cosentino’s does. Yet hearing this song that way would miss its affecting lyrics and the band’s fearlessness in casting a wide and sometimes contradictory net of references. “Sorry, Not Sorry” came from a numb, disconnected place, but it’s got a half-century of heart. LISTEN HERE…
This song couldn’t have been released as anything other than a single. A full-length album would collapse under the plaintive, heartbreaking weight of Sara Rachele’s “Rebecca,” and picking songs to cushion it in a track list would be nearly impossible.
The Decatur, Ga. singer-songwriter’s pure, rootsy voice has a thick twang and deep vulnerability that garner immediate trust — which is vital before following her into the tangle of emotions her narrator feels after having an abortion. In range and rhythm, this is not a complicated vocal performance. But she is masterful in the myriad ways her singing envelops the nuance and intensity needed to tell this story.
The song was recorded solo, while Rachele sat in the grass outside the Danielsville, Ga. studio where she recorded the other track on her Madison County single. The rustles and chirps around her act as a response and a bolster. She sings about being lost in memory and “what ifs,” but all around her, life goes on.
Madison County is out now on Angrygal Records.