Jelly Bread's musical alchemy blends a dash of alt-rock with soul and funk, yet is thoroughly steeped in Rock-Americana. The band's chameleonic playlist is highlighted by dual vocals, four part harmonies, in-the-pocket drum and bass grooves, swampy lap steel guitar, dirt under the fingernails guitar licks, and take-'em-to-church organ that is downright appetizing. Jelly Bread has emerged with a high-energy calling card that melds elements of desert twang and the urban tones of funk & rock, balanced by exceptional songwriting and storytelling.
Jelly Bread has been delving into more extensive touring this past year. This past year, Jelly Bread has been tapped to perform opening duties for the likes of Robert Cray, Robert Randolph and the Family Band, Dragon Smoke (members of Galactic), The Motet, Ivan Neville's Dumpstaphunk, Lukas Nelson and the Promise of the Real, Pimps of Joytime, Sister Sparrow and the Dirty Birds and performed on a bill featuring Bruce Hornsby and Railroad Earth. The band has appeared at premiere festivals to include Joshua Tree, Strawberry and High Sierra Music Festivals.
Over the course of the 2013 summer, in between touring, Jelly Bread spent time recording at Imirage Sound Lab with Tom Gordon who has worked with the likes of Ozzy Osbourne, Collective Soul, Dr. Dre, Boyz II Men, Willie Nelson, Merle Haggard, among many others. After months of dedication, the band emerged with a their latest EP titled "Lessons Learned".
The EP, which includes the head-nodding, signature energetic funk and rock soul listeners have come to expect from Jelly Bread, maintains the honest storytelling of the more Americana influences Jelly Bread has been rooted in since its inception. Awards 'NO DRESS CODE' - Best Album of 2012 for Best of Reno!! Tahoe's Band of the Year 2012 - Lake Tahoe Action (Dec 6, 2012)
"Taking it in its deepest sense, the shadow is the invisible saurian tail that man still drags behind him. Carefully amputated, it becomes the healing serpent of the mysteries."
-- CG Jung
Are you ready for a new pop icon who appears fully formed, perfectly realised, with no rough edges and a cast-in-stone persona? Well keep looking. The bad news -- and this is the best bad news you'll hear for some time -- is that pop's most extraordinary new talent is far from complete, with the momentum of Allie X's futuristic, shape-shifting persona matched only by the propulsive thrust of her captivating music.
Since arriving online in 2014, the Toronto-born, LA-based singer songwriter's radio-ready electronic pop and bold visual style caused instant waves internationally. Even in the hyperbole-strewn landscape of contemporary pop criticism her plaudits stand out as uncommonly positive. Time magazine called 'Catch' a "perfect pop debut single" while Pitchfork likened it to "a shot of adrenaline straight to the chest" and Dazed deemed its creator "a small pop miracle". Allie's main visual at this point -- a maniacal spinning GIF -- was one of the reasons Interview magazine praised Allie X for establishing "her own language for music and art -- reinventing the way the music industry operates". Katy Perry, meanwhile, breezily declared 'Catch' her "summer jam", and tweeted it to over 50m followers. Allie's drip-fed releases picked up further coverage from The Fader, Vice, Popjustice and V Magazine.
But there was more to this than a smattering of great songs and a couple of captivating GIFs. In May 2015, Allie self-published an autobiographical comic book in which her life, or the side of her life she chooses to show, was brought to life in stark monochrome. The book tells the story of Allie's search for a missing part of herself, and her relationship with her shadow self, a reference to her fascination with Jungian archetypes. "Everybody has a shadow," she explains. "If you choose to ignore it, it will drag you down. If you recognise and come to understand your dark side it can actually be useful."
For Allie X this has also involved identifying the parts of herself that she no longer relates to, and leaving them behind. The X she added to her name for this phase of her career is not insignificant. "If you need to become anonymous and wipe the slate clean, X gives you the power to do that," she explains. "In mathematics, X represents the unknown quantity: it's full of possibility. Once all the questions are solved, X becomes something else." At that point, she explains, Allie X will have found the missing part of herself. "Eventually, if all goes according to plan, I won't be Allie X any more," she adds, with words that will strike fear into the hearts of anyone with a meticulously arranged iTunes library. "I'll just be Allie."
People who can eat People are the Luckiest People in the World
10th Anniversary Tour
A theatrical extravaganza takes place as we delve into the inner working's of Layne's mind. Watch as she goes through her literal and metaphorical baggage with the help of her Insecurities. This show is not for the faint of heart.
Ott has been messing about with sound boxes every day for as long as he can remember. Having spent the '90s flitting between his day-job as a freelance tudio engineer and long weekends under the stars at psychedelic trance parties, the obvious next step, as the millennium turned, was to create music of his own from the jumble of sounds which filled his head. After teaming up with Twisted Records, 2002 saw the release of the acclaimed Hallucinogen In Dub album, followed in short order by his first solo effort, Blumenkraft in 2003. 2008 saw the release of Skylon and in 2011 the album MIir was born.
A pattern has formed: every four years or so an album coalesces from the chaos, heads out into the world and takes on a life of its own. 2015 was one of those years. Financed by a wildly successful Kickstarter campaign, Ott built a new studio, filled it with vintage sound-creation toys and locked the door, vowing not to emerge until a new record was born. The original 6 month deadline came and went but, a year after he started, the thing is finished.
August 11th, 2015 saw the release of Ott's latest studio album Fairchild.
Blasted grassland, the thin ribbon line of the freeway unspooling beneath wheels, skies stretched wide between mountaintop. It is dream music, foggy, atmospheric, the melodies you hear while you gazing out through fingerprint smeared windows into a constantly moving, metamorphing - landscape....
It makes sense then, that BRONCHO, born out of out a film project, its initial incarnation sparked when founder Ryan Lindsey was asked to create music, "to set to an early 80s punk film." "That's all I knew about it," he remembers, "they were looking for songs that touched this era. And songs kept coming to me and turned something on inside of me artistically." Lindsey found himself in the midst of prolific run of songs and he liked the idea "of starting out there and seeing where it could go."
What's evolved from those first tracks there has been a steady run of success, critical accolades and two full-length albums; 2011's Can't Get Past the Lips, 2014's Just Enough Hip to Be Woman. And beneath it all - the music has been constantly mutating and ceaselessly experimental. From that first inception as a soundtrack in 2010, BRONCHO has taken on a life of its' own - initial inspiration still there, but now pushing far beyond the stiff confines of score. And what began as an ode to ramshackle, high-energy early punk has become something deeper, weirder, and much more nuanced. The undercurrent of early 1980 punk is still there, but The Ramones pogo has been replaced more often by a kind of Love and Rockets inspired, honeyed, cotton-mouthed drift.
Double Vanity is Lindsey and band mates Ben King, Nathan Price and Penny Pitchlynn steadily moving ahead, transforming the raw angst of the first record into a sound decidedly more layered and complex. Tracks like "New Karma" or "Two Step" riff off the later explorations of punk, culling up refracted images of John Hughes prom nights, love songs echoing from a boom box held high. "Jenny Loves Jenae" and "Speed Demon" strut with an when 80s met 50s swagger, discord transformed into a jagged, frenetic pop. "Señora Borealis" is all bad boy sneer - sensual, moody, with a sly and predatory swagger. "I Know You" is simultaneously infectious and brooding, somehow both exalting and heartsick.
The result is a record that veers gleefully from BRONCHO's roots, moving from graffiti spray backrooms into a sleeker, plusher sound, a place bright with the polished gleam of chrome and bleached white sunlight. Close your eyes and what you feel is the raw wound pulse of adolescence, what you see behind your lids is suburban shopping mall wastelands, glazed eyes, dead grass, lips glossed in bubblegum pink. There is the burst chest thump of teenage longing, the smell of hairspray and cigarette. There is glow of neon and the glint of streetlight rolling across hood.
Double Vanity evokes a shared nostalgia, for the past and for the unknown future, as BRONCHO takes a turn off the wide freeways and into a world of intimate, intricate - but always universal - emotion.
Hailing from Manchester in the UK, acoustic-electronica trio GoGo Penguin are pianist Chris Illingworth, bassist Nick Blacka and drummer Rob Turner. Drawing on a heady brew of influences from Brian Eno, John Cage, Massive Attack and Aphex Twin to Manchester’s grey rain-streaked urban streets, they create a brave new sound that is wholly their own.
Defined by skittering break-beats, powerful sub-bass, telepathicinterplay and a penchant for anthemic melody they create an emotionally rich palate for the listener that has seen them hailed as the most exciting new band to emerge from the UK in years.
Their album v2.0 (Gondwana Records) was named a Mercury Prize Album of the Year in 2014, alongside albums from Damon Albarn, Young Fathers and Jungle and has won them a legion of fans across the world.
In April 2015 they announced signing a three album deal with Blue Note Records and their Blue Note debut album Man Made Object which was released worldwide on 5th February 2016.
Hidden Driver, the opening track of LVL UP ' s third album and Sub Pop debut Return to Love, never stops moving. What starts with unassuming guitars and vocals adds new lines, depths, and intensity, until its unrestrained, triumphant finish. God is peeking, softly speaking, repeats the chorus, working through the relationship between spirituality and creative inspiration, and introducing a band that is always pus hing further. LVL UP -- guitarists Mike Caridi and Dave Benton, bassist Nick Corbo, and drummer Greg Rutkin -- is a true collaboration, a band that takes the stylistically distinct ideas of four members and brings them together into something new.
Caridi, Benton, and Corbo write and sing equally, bringing their work to the group to be fully realized, resulting in an album built on different perspectives but a common drive. We have very different inspirations across the board, says Benton, noting his own admiration for the writer and documentarian Astra Taylor, Corbo ' s interest in the mystical and the occult, and Caridi's attention to personal storytelling. The music itself grows from a shared melodic and experimental sensibility, as well as a nod to iconic influences like Neutral Milk Hotel and Mount Eerie. But each songwriter has a different vision every step of the way, and there isn't always alignment -- it shouldn't make sense, but in the end it does. LVL UP was formed in 2011 at SUNY Purchase as a recording project between Caridi, Benton, and their friend Ben Smith, with the original intention of releasing a split cassette with Corbo's then-solo material.
They instead released that album, Space Brothers , as one band, and Rutkin joined shortly afterwards for the group ' s first show. Smith left the band for personal reasons just before the release of second album Hoodwink'd , a joint release on Caridi and Benton's label Double Double Whammy and Exploding in Sound. DDW also put out records from other artists in the tight-knit community that launched the band. There's not really a town associated with the school, so there's no bar or club that you could go play in easily, says Corbo. But there was a student center on campus that was all student run. That was a gr eat place to play, and also take care of a lot of practical issues like a place to put your stuff and a place to practice weekly. It was almost like an incubator situation for us and a lot of other bands -- it gave us a little bit of experience and confidence, so it wasn't as scary when we decided to go on tour for the first time.
Also part of that university community was Return to Love's producer Mike Ditrio, who mixed LVL UP 's previous records and was basically a fifth member of the band, says Corbo. He played a huge role in developing the sound, without butting in too much. He also navigated our personal dynamic really nicely. That sound is marked by reverb, harmony and tape distortion, with a keen balance of pop and experimentation. From the fast yet flowing lines of Blur to the all-consuming wall of guitar in The Closing Door, each song pushes and pulls in compelling, unexpected ways. There's deliberation as well as spontaneity -- the latter developed with the help of a song-a-day project, which pushed Caridi and Corbo to write and record full songs in a single day.