TPR Featured Column: An American Interview with The Morning After Girls

By: Jordannah Elizabeth

PRELUDE:

There are a few bands who seem like unicorns to me; I have so many friends who have played with and spent time with The Morning After Girls, that I only get the pleasure of hearing about their kindness and the remnants of their presence.

Last month, The Morning After Girls played a short string of shows with My Bloody Valentine in Australia. I am simply fascinated by the reemergence of Kevin Shields and his band, and wanted to ask The Morning After Girls what it was like to play with MBV. I was also curious about when we would hear a new album from TMAG, and what would motivate the process and progress of the writing and recording.

It was a great honor to talk to this band who’s reputation precedes them as very kind and lovely people, as well as talented musicians.

You guys have kicked off 2013 with a bang, including a string of Australian shows, a few of which were opening slots for My Bloody Valentine. How did you receive the awesome opportunity to play with MBV?

It was rather flattering, actually, as we were personally asked by the band themselves to join them on this tour– rather than it being some default, industry process. I believe they caught one of our shows in London when we were living there temporarily in 2007. Perhaps they wanted to see how we had evolved…

Did the shows with MBV run smoothly?

Very much so! When you’re touring with an act that equally respects the music you create, it obviously makes everything else so much easier. Plus, to achieve their sound, they require a lot of equipment to be transported from each show, so there was a day off between each performance– which meant we got to see the sunrise quite a few times…

You guys have been doing well, booking great shows in Australia. Will you be going into the studio to record soon?

We’ve been spending a lot of time in the studio already this year, preparing for our next release. We’re working on two new records at the moment, both of which will display very different sides to our sound.

One will be mammoth, and the other so minimal, you can almost hear a pin drop! The latter will be appearing very soon..

If/when you do immerse yourself in the studio will that stunt your touring?

We try not to play shows at all when we’re creating in the studio. If we know we have a block of creative time up ahead, we’ll tend not to book any live appearances as it simply distracts the productive/organic flow of creating an album. A tour will come and go; the record lasts forever.

What are your plans for the rest of the year? Do you have any other dream bands you’d like to play with?

At the moment we’re trying to focus on completing these two particular projects. We’ll be headlining a full tour of Australia in a couple of months and making a few appearances at a few select festivals around the country. To be honest, we’ve had the privilege of playing with most of our ‘dream bands’… unless, somehow, The Beatles were to get back together… we’ve always wanted to play Coachella Festival!

How is the rock scene in Melbourne? You seem to get a lot of love there; do you enjoy playing the United States, when you’re afforded the chance, more or less than when you play in your native country?

We’ve only been based back in Melbourne a short while now after establishing ourselves in New York City for almost five years, so we’re still grasping the scene here, I guess. We love touring the U.S., as you can literally perform 50 shows back to back… then, once that’s over, you can revisit them all over again till your body says; okay, that’s enough!

How do you plan on expanding your reach and fan base? Did the MBV gigs help bring awareness? Were the audiences receptive to you?

We work hard on and for our art. I think if you create something that’s unique and honest, it’s going to reach the people it needs to.  There seemed to be a lot of people familiar with our material on this most recent tour, though I’m sure we converted a lot more along the way. One must respect that it was fundamentally their [MBV’s] night, so it was important for us to create the perfect pallet for their return.

If you do begin writing a new album, what will it be about?

Desire.

TPR Featured Interview: Christian Bland of The Black Angels

By: Jordannah Elizabeth

There are so many amazing bands releasing and touring new albums this Spring, and we’ve been doing our best to keep track of them all. The Black Angels have been hard at work on their new album, and now we are encroaching on the eve of the release of their fourth studio album, “Indigo Meadow.”

I asked Christian Bland a few concise questions about the new album, Austin Psych Fest, and his personal take on his hopes for the new album and the band’s upcoming multi-city tour.

Your new album, Indigo Meadow is due for release April 2^nd. Tell us a little about how you started writing and recording the album?

A lot of the songs were written throughout 2011. Then the band came together in January of 2012 and started working on the new songs together in Austin. We had around 30 songs we were working on from January-July. In August, we went to Sonic Ranch in Tornillo, TX and recorded 16 songs, 13 of which are on the album.

Who mixed and produced Indigo Meadow?

John Congleton from Dallas, TX.

Will you performing new songs at Austin Psych Fest?

Definitely.

Any important details you want to share about Austin Psych Fest 2013?

We’ve moved the fest to Carson Creek Ranch, which is the vision we had from the beginning of the festival, which was to have it outside in a huge field by a river, with camping. We’ve been waiting 6 years to have BRMC and Clinic play the festival, so we’re really excited to have them this year. There are so many amazing bands on the line-up. It’s going be a good time. Check out www.AustinPsychFest.com for more details.

Back to the album, did you guys have a specific influence or theme you were going for on this record?

Not really. I don’t think we ever do. A theme naturally develops. I think it’s because the songs were written during a specific period of time, therefore we were in a certain frame of mind. There are lots of influences on this album. Most are the usual that we’ve pulled from in the past.

You’re going to be touring this album soon. What are your hopes for this leg of your American tour?

Hopefully we play to more people. I’d like to reach as many people as possible with our songs and live visual show.

What are you looking to convey to the fans? Do you have any expectations of your fan’s response to Indigo Meadow?

I think our message has always been what the 13th Floor Elevators sang about in “Rollercoaster,” which was that you’ve got to open up your mind and let everything come through. We’d like to encourage people to rethink their preconceived notions. We’d like people to enter into our world for a night.

Do you think you’ll ever get sick of Austin, TX and want to live somewhere else?

I don’t think so. I love it here.

With the success of Austin Psych Fest and the quality you have to deliver each year, do you still enjoy putting on the event?

Absolutely. We have a good team around us. The core is the 4 of us (Rob Fitzpatrick, James Oswald, Alex Maas, and myself) but the festivals grown so much that we’ve needed to hire more help.

What’s your favorite track on the new record?

Today, ‘I Hear Colors’ …tomorrow, ‘Always Maybe’

To be released April 2, 2013 by Blue Horizon Records:

1) Indigo Meadow
2) Evil Things
3) Don’t Play with Guns
4) Holland
5) The Day
6 )Love Me Forever
7) Always Maybe
8) War on Holiday
9) Broken Soldier
10) I Hear Colors (Chromaesthesia)
11) Twisted Light
12) You’re Mine
13) Black Isn’t Black

TPR Featured Column: Two Los Angeles Side Projects That Should Not Be Ignored

Written By: Jordannah Elizabeth

Old Testament + Electric Flower Group at Nomad Gallery, Los Angeles

PRELUDE:

I recently took a pilgrimage from the icy soil of the east coast to Los Angeles, California. As I left for the airport, there was literally an ice storm threatening the Midwest and Northeast, and I could not wait to get to Hollywood and find a warm place to write and hear some amazing music. I spent some time hanging out with my friend, Jason Simon who is the lead guitarist and songwriter for the legendary underground stoner-psych rock band, Dead Meadow while I was in town. He invited me out to see his new band, Old Testament play at the Nomad Gallery. I’d been following Old Testament since it’s embryonic form, so I was very intrigued to see the band perform live, and was even more elated to hear that Imaad Wasif, a virtuoso space rock singer/songwriter from L.A., would also be playing with his new rock collaboration Electric Flower Group at the gig. I hadn’t seen Dead Meadow or Imaad Wasif play live since 2008, so my invite to this show was the sign that my west coast trip would not be in vain.

Electric Flower Group

If you research Electric Flower Group you’ll notice that this collaboration between Secret Machine’s Josh Garza and Imaad Wasif is kind of a big deal in the upper tier of indie rock circles. Even though this new, and almost kindred connection has been recognized by major music publications, their shows and public emergence has simmered quietly as they both humbly glide around small venues until they step on stage and create the most massive and effective celestial space-rock impact that new listeners would not expect.

Electric Flower Group effortlessly translates their music into a pulsating language. If you stop and flow with their music, you can hear Imaad communicating in psychedelic Morse code, sending out telepathic telegrams from his keenly powerful rock and roll third eye, which is terribly captivating. These guys are meticulously timed and tuned-in to one another even when their melodies seem to fall apart causing a perfect faux jam that melts your face while moving your hips. I personally had a blast watching them perform. Garza thanked me for being the only one dancing in the crowd, but what he didn’t understand was that I couldn’t help it. Til the day I die, I’ll let the groove move me, and since I have been a fan of Imaad since I saw him open for Darker My Love in downtown Los Angeles years before, I understood the maturity and almost indescribable talent he exuded that night. I’m so glad Imaad found a musical bond with Garza. They make a harmonious and stellar team.

OLD TESTAMENT

If you listen closely to Dead Meadow’s newer works and particularly Jason Simon’s solo music, you’ll notice the ascent of a very heady folk influence seeping into his compsitions. Old Testament is a full manifestation of the depth of Jason’s personal musical journey and is like the dark side of Dead Meadow’s moon, where with a five-member ensemble of some of Los Angeles’ most seasoned young musicians playing a plethora of unlikely instruments, I witnessed and heard a full-on throwback and ode to folk/bluegrass influences from as early as the 1940’s to the 70’s. Oakley Munsin’s impressive harmonic rhythms, and the atmospheric bass and rhythmic undertones of the harmonium, and organs played by Nate Ryan and Jessica Senteno, make this band a relatively odd one, simply because there are no modern bands to compare them to…which is wonderfully refreshing.

Jason Simon does what he likes, meaning he plays the music he likes to listen to, and he thoroughly enjoys morphing and revitalizing the eclectic variety of music that influences him into his own interpretive performance. I personally heard Townes Van Zandt, Charlie Daniels and the Carter Family echoing through this band’s trippy post modern versions of vintage Appalachian rock music. Old Testament confidently displays a new take on an aspect of rock and roll that hopefully breaths fresh air into a somewhat repetitive, if not stagnant, musical atmosphere or pop music that is…the United State of America.

TPR Featured Interview: Dead Leaf Echo

By: Jordannah Elizabeth

Dead Leaf Echo have just announced the release date of their first full length album. This full-length debut has been a work in progress for over three years, as this influential New York-based band, self-described as brandishing a  “Nouveau Wave” and Shoegaze quality of sound. Of course, the patient anticipation up until the forthcoming release has allowed Dead Leaf Echo to experiment with, discover, and perfect their unique sound, in an honest effort to produce a work of art that is both relevant and psychedelically spectacular for their listeners.

 Lg Galleon (Guitar / Bass /Vox) was happy to open up to us about the great journey that the band has traveled to complete this record, and how he’s coped with the long, and sometimes arduous process.

You guys are coming out with a new album in March of this year. Tell me about the process you embarked on to write and record this album?

It took a very long time and was quite a journey.  Writing was done from 2009-2010. We played rehearsals though 2010 and did all the basic tracking in 5 days at Mission Sound in December 2010 with John (Fryer). Some additional tracking was finished there after another 5 days. So we spent 10 days total at Mission. Then we did another 5 days of tracking at Strange Weather studios with Justin Colletti.  Mixing was done in Olso, Norway with John in October 2011. Mastering, artwork, films, and final mixes were all completed last year.

In this new, “digital music age,” it’s very hard to find support to properly fund and release a professional album. How do you wade through this new D.I.Y. generation to find the proper backing you’re looking for to be able to create the conceptual art that you imagined from day one? 

It’s very hard.  It’s all about drive and D.I.Y., but it had always been that way.  There’s nothing new about that. It’s hard for any band. Now, it’s just less money coming from one market (record sales).  So now, everyone’s scrambling.  But now [bands] have a platform beyond the live show. They have social media, video channels, etc. and that brings this instant gratification. You now have internet bands born out of dorm rooms. Very few bands made videos in the 80’s unless they had the budget from a legitimate major label. Now you don’t need that.  You’ve got a buddy with DSLR camera, you’ve got garage band, and “boom.” But you have to be willing to tour your ass off which is almost just as unreliable of a plan if you ever expect to live a rooted life by the time you’re over the age of 25.

Congratulations on signing with a new label. What made you decide to go with Neon Sigh Records? 

They’re an extremely supportive, optimistic west coast collective that has continually renewed my faith in what made me fall in love with indie record labels in the first place.  This is their motto- “Neon Pop Record Label in the tradition of Factory, Creation, Clairecords, Sarah, 4AD, etc. Never Lose That Feeling but always search for new horizons…” How could you not love that?

Do you plan on touring once the album is out?

We’re going on a three-week tour including a release party at Mercury Lounge on 2/27 for the album release.  After that we’ll tour out to SXSW, which will cover the east coast and southeast.

Do you find it easier to have a slow and steady approach when it comes to the pace of the advancement of your career? Do you sign contracts that last more than a year or one album, do you take months on your videos and albums, or do you tend to work quickly and produce large catalogs of work in a short amount of time?

It really depends on the scope of the project you’re working on. Being that we waited so long from when we formed (2006) until we actually released a proper LP it has been a bit built up, and a bit too much of one if you ask me. Our previous releases were EP and singles built around visuals have slowly come out every one to two years, but the LP became this larger than life thing built around a strong hold-fasting concept.  To be honest with you it all just took too long. We just couldn’t get the final details perfected and weren’t sure if the album would even be released. I work on inspiration so when that hits you have to tap in because it could be gone the next day.

What and were your musical influences for your next record? 

I have no idea if there will be a next record. This current one has taken quite a long toll and will continue to do so throughout the promotion of it for part of this year. There are some demos forming, but it will take a while to happen, I’m sure.

How was it working with John Fryer?

We’ve worked with him for quite a lot of our material.  We worked on a few singles, one EP, and this LP. It was fun in the beginning, like tapping into some mysterious British force.

What do you anticipate in regards to your plans for 2013?

I don’t anticipate anything anymore. I expect nothing to happen and thereby, I save myself from any fallout due to built up expectations. It’s really the way to be.  Remove the emotions. Get Buddhist on it.

TPR Music Video Premier: 185668232 feat. Jordannah Elizabeth – Tell Me (2013)

Written By: Chris Parsons

The newly explored virtual collaboration between 185668232 and Jordannah Elizabeth, both avant-garde and mind-manifesting solo artists on the U.S. east coast, recently leaked a single, “Tell Me,” on Youtube as a teaser debut of the shape and direction that their collective sound has been taking. 185668232‘s writing and production style typically has a focus in electroacoustics, field recordings, and soundscapes, and uses a blend of these elements to conjure dreamesque and subliminal earworms that are intrinsically catchy in every sense. These ingredients are applied accordingly in “Tell Me” which is introduced by a simple and recurring, yet compellingly structured, melody of ethereal bell tones. Giving away the essence and intricacies of an earworm to a song is much like revealing the spoiler to a movie, and we just don’t do that, but after a couple of listens you might appreciate some sort of grasp on the subtle nuances at play in the mix. Jordannah Elizabeth‘s contributions are her unique and immediately identifiable vocals. The vocals are mixed snugly into the wash of reverberating bells, and Jordannah’s incredible range and vocal athleticism turn around an acute, two-minute minimalist piece into a curiously ambient daydream. The two parts come together like a pair that’s been collaborating for well over a week! We can tell they’re certainly onto something here, with perhaps more to surface through 2013!

TPR Featured Campaign: New Jordannah Elizabeth Album 2013

Written By: Chris Parsons

Jordannah Elizabeth‘s music is the experimental and psychedelic folk solo manifestation of her nomadic spirit, currently based on the U.S. east coast. Previously, while her entire discography was hosted by the late Trastienda Net Label, she had found much international success and exposure. In mid-2012 the label unexpectedly folded leaving the earlier Makeshivt Kity (her experimental, collaborative side project) and Jordannah Elizabeth releases– scores of EPs and a few polished full-length albums– to be all but lost to various, dispersed pockets of the vastly eclectic internet. This ending only seemed to inspire a new beginning within Jordannah, always looking ahead with headstrong determination, as she began writing material for her next full-length release. Now, this brand new album, entitled “Harvest Time,” finds itself in the developmental stages and set to be released as early as March 2013!

But, without the advantageous support of a label, it can be a challenge to personally finance such endeavors. So, Jordannah Elizabeth has turned to the ever-popular crowdfunding model via Indiegogo to pitch her project, with goals set to professionally mix and master the tracks for limited edition vinyl and digital releases. This new album is a very exciting release for neo-psychedelic music of 2013, as it will likely incorporate the unique and soulful sounds of her experimental- and anti-folk roots. “Harvest Time” will also be something of a collaborative album as J.E. has invited some of her close friends– including members of The Flying Eyes, Scorpion Child, Dead Leaf Echo, and The Vandelles— to accompany her on select tracks, adding a collective collage of creative minds to the heady mix. Jordannah will also be touring during the next month (dates below), all during this campaign, to personally promote her pet project and rally as much support as you’ll allow. Without a label, this limited record will be produced totally D.I.Y. and in-house to best ensure the artistic vision of Jordannah Elizabeth, with full expectations to supply a high-quality record wherever there may be demand.

2013 “Harvest Time” Jordannah Elizabeth Tour

January 14th – Goodbye, Blue Monday – Brooklyn, NY

January 25th – Club K – Baltimore, MD

January 28th-30th – Fashion Grunge Blog Editorial Shoot – Los Angeles, CA

January 31st – Sweet Tiger Records Jam Session, Los Angeles, CA

February 1st – Under the Golden Gate Radio Show on Mutinyradio.org

February 2nd – Appearance on Latenite Bubbles w/ Bernadette Talk Show  – San Francisco, CA

February 2nd – The Box Factory – San Francisco, CA

For more info:

http://www.theprocessrecords.org

TPR Feature: Two Baltimore Based Experimental Duos Who Deserve Your Attention

Written By: Jordannah Elizabeth

PRELUDE:

I recently moved back to my hometown of Baltimore after almost 10 years of traveling and covering experimental music of all genres across this great and vast country. I would have never stayed in Baltimore after my first short visit earlier this Spring if I didn’t witness a vibrant music scene that seemed to emerge from indie rock vapor. I’m almost hesitant to write about the goldmine of experimental and neo psychedelic/alternative bands that are percolating in this city, because I don’t want Baltimore to become another Brooklyn.

Baltimore has become a safe haven for big city introverts who are tired of the blatant self-gratification of the local major city Indie and DIY music scenes. I found that larger cities tend to house artists who lose sight of creating music with their audiences and collaborators in mind. On the contrary, there are couplings of cliques who seem to have it out for each other within their own microcosms, and this creates a world of complicated, passive aggressive, and intellectual math rock that seems to do nothing to connect with, let alone help ease the inner souls of lost listeners and city dwellers who nurse broken and hemorrhaging hearts. Of course, this is just my opinion.

Anyway, I’ve been going around once every couple of weeks and following a few bands in town, and I’m slowly curing my taste and sensibilities in regards to Baltimore experimental music.     

The Water and The New Mystikal Troubadours, to me, are the essence of slowly cooked and lightly smoked experimental/psychedelic rock. While both bands draw from different basic musical elements and influences, they are two Baltimore based creative duos that create potent and effective musical atmospheres.

THE WATER

Dan Cohan & James Klink

The Water has somehow achieved a powerful and bountiful sound despite the fact that there are only two members playing the music. This heavy ambient, experimental duo (that musically insinuates drum and bass undertones, that jump up and reveal themselves at every opportune moment) uses loops, pedals, guitars, and a uniquely crafted drum kit to manifest their sound. The drummer of The Water (who I’ve witnessed at a live show) switches between guitar and drums during his performance while, as I mentioned, creating climactic and percussive arcs throughout their songs. The guitarist also moves from his guitar to his keyboard and synthesizers, and it’s all very fascinating to watch. The Water’s current release Scandals and Animals, is a collection of their abundant ambient overtures. This is a great band to witness live, and their album is sufficiently pleasing to listen to.

But again, If you have a chance to see The Water perform, you’ll be impressed at the vividness and sheer power of their music.

THE NEW MYSTIKAL TROUBADOURS

Dave Gibson & Matt Perzinski

The New Mystikal Troubadours are a whimsical folk psych rock band that also embodies almost trip hop aesthetics within their ballads. It is honorable to note that this is Dave Gibson’s (of Bad Liquor Pond) musical “side project,” but The New Mystikal Troubadours is a very different band from several different aspects. Their songs are flurried with the influences of English art songs from the early 16^th century and mélodies, which are French art songs that are derived from the mid 19^th century. The music is generally a lot less shoegaze-oriented than Bad Liquor Pond, which is the genre Gibson has an affinity to be associated with.

The New Mystikal Troubadours play traditional folk psychedelia. There is no way around that. And the music really does reflect the style of the French troubadours who wrote and played their songs with lyres in town squares throughout the 17^th-19^th century. Therefore, it is safe to say, their current release, Jungle Love Revisited is a historical and musical feat, not to mention a very unique genre of music and era to draw from.

………………………………………

The Water and The New Mystikal Troubadours are mature, up-and-coming bands headed by creative artists. Their music and performances are moving, and their work is deliberately thought out, refusing to waver in concept. These are definitely two great and intelligent bands to follow.

TPR Featured Band-to-Watch: Time and Energy

Written By: Jordannah Elizabeth

PRELUDE:

Life is a journey. Every moment we are breathing and experiencing, we are also gravitating towards situations, sounds, conversations, and travels which we are subconsciously or karmically drawn and connected to. Time and Energy was submitted to me through an avenue that was new and their music was tucked away in a small flurry of submissions that hit my personal email inbox, which I thought would be filled with Los Angeles emo hardcore bands that I thought I’d have to find the Time and Energy to place in certain publications (yes, that pun was very intended).

The lesson of this little story:  Never judge a messenger, even if you have different philosophies, or have just met. Good music is everywhere. It’s in the air. Give yourself to it, and trust that people will learn what you

TIME AND ENERGY

Time and Energy is a “loop based” experimental band based in Santa Ana, Califorina, whose lyrics are very wise, and at times, seem to be attuned with the human condition so much that if you’re experiencing any type of pressure or degradation of self esteem, their songs can uplift and ease your personal concerns.

Time and Energy’s current release, Strange Kind of Focus, exhibits a professionally composed use of horns that allow them to expand across different genres from song to song. The album does seem to exude strong jazz influences, but they also tap into undertones of California classic folk rock like Crosby, Stills and Nash and The Byrds.

This band is esoterically fulfilling, while balancing moments of soft affection and convicting lyrics of tough love. Strange Kind of Focus is not only a very well put together album, it’s an exceptionally listenable account of how experimental music can be done tastefully as well as being moving, and coherent.  Time and Energy holds the bar very high in regards to D.I.Y. musical projects.

TPR News: Four Highly Anticipated 2013 Neo Psych Album Releases

Written by: Jordannah Elizabeth

PRELUDE:

I think one of the biggest misconceptions that music journalists have about doing their job is that they have to have this degree of separation from the artists and events they write about, and that it is ok to slam musicians, particularly if it is popular or a trend to do so. I am not ashamed to express that I call many of the artists I write about friends, and that I don’t cover any music I don’t like. I find no need to insult bands for being unique.

Nonetheless, outside of my personal rapport, interest and understanding of the neo psych rock and roll sound and scene, I quietly pay attention to the tempered progressions of band’s recording endeavors.

In 2013, there are going to be some long anticipated LPs emerging into our psychedelic/hard rock atmosphere. I’m here to announce and keep you informed about these developments by following and documenting the movement  towards the climaxes of their releases. I couldn’t be more excited as a journalist and a fan to be keeping you up to date on these new, forthcoming recordings.

THE WARLOCKS:

(Quotes from Bobby Hecksher – The Warlocks)

Expected Release Date:

Summer or Fall of 2013

Upcoming Shows:

Jan 12, 2013 Bootleg Bar – Los Angeles, CA

Feb 15, 2013 and February 16, 2013 – San Francisco, CA

March 9, 2013 – Denver, Co Gathering Of The Clouds Festival

March 18-24  – SXSW – Austin, TX

April 26-28 Austin Psych Fest –  Austin, TX

Record Label:

Cargo Records

The Recording Process:

“We are mixing at the moment and may need to record another song or two. Almost finished. Well I hope.”

DEAD MEADOW

(Quotes from Jason Simon – Dead Meadow)

Expected Release Date:

Spring of 2013

Upcoming Shows:

To Be Announced

Record Label:

Xemu records

The Recording Process:

Dead Meadow is recording the entire album…“It’s trippy, it’s warm, it’s warbly, sometimes heavy, sometimes evil.”

THE FLYING EYES

(Quotes from Elias Schutzman – The Flying Eyes)

Expected Release date:

Likely to be May 2013

Upcoming Shows:

Friday, February 22, 2013 at

The Metropolitan w/ Buffalo Killers, Annapolis, MD

Record Label:

Undecided

The Recording Process:

Engineered and produced by Rob Girardi at Lord Baltimore Recording Studios. Mixed by Chris “Frenchie” Smith at The Bubble in Austin, TX.

“This was the first chance we’ve had to work with a producer and it made all the difference. Rob was totally focused on the execution of the recording giving us the freedom to completely absorb ourselves in the performance. During overdubs, he also kept us on task so we didn’t slip down the rabbit hole of psychedelic weirdness. We were also really lucky to record with some incredibly talented guest musicians, including Dave Hadley on pedal steel, Ryan McBride on sitar and Katrina Ford (of Celebration) on back up vocals.”

BLACK REBEL MOTORCYCLE CLUB:

 

Expected Release Date:

March 2013

Upcoming Shows:

(American Shows, Check Official Website for European Dates)

December 19, 2012 – Slim’s – San Fransisco, CA

December 20, 2012 – The Atrium at The Catalyst Club – Santa Cruz, CA

December 21, 2012 – The Troubadour – West Hollywood, CA (SOLD OUT)

Label:

Abstract Dragon/Vagrant Records

TPR Featured Band-to-Watch: Scorpion Child

Written By: Chris Parsons

EDITOR’S NOTE

Earlier this month, I was picked up from Penn Station in Baltimore from an extended weekend trip to New York City. I traveled back to Baltimore looking like a teenage punk rock stoner degenerate as I had just come from Jasno Swarez’s (The Vandelles) studio in Williamsburg, and was dressed in a Vandelles tee, Doc Martin-like boots and a 60’s inspired fur-lined suede coat.

I was driven home to my five-bedroom band house in Baltimore, and when we drove up, I immediately realized that my door was open, but none of the boys’ (my roommates) cars were in front of the house. I walked into my house to find several (other) longhaired and more than reasonably handsome young men scattered around my living room and dining room. As any rock and roll girl would do, I found some whiskey and got to chatting.

Scorpion Child is a heavy psych-prog rock band from Austin, TX. They are on tour and played a show at the Side Bar in Baltimore the night before, and had less warning of my presence at my house than I had of theirs.

Nonetheless, I was endeared by their late night acoustic rock and roll set, as I sat and listened to all of these incredibly instrumentally proficient musicians rehearse and serenade our cat, Nico. Anyway, I can personally vouch for Scorpion Child’s impressive musical talent, vigor, and pure hard-rock edge. The Process Records will be releasing new tracks from SC’s self-titled album coming out in February. We’re sharing their talent and music because they are an brilliant and heavy psych prog band… and of course, any band who breaks bread with me is a friend of ours.

Check out their tour dates at http://www.scorpionchildmusic.com/tour/ and catch their show as they’re on tour for a few more weeks in the US. -j.e.

Hailing from Austin, Texas– the “Live Music Capital of the World”– Scorpion Child channels the dark, metal edge of psychedelia with classic influences developed through many hours of spinning the likes of Led Zeppelin, Black Sabbath, Deep Purple, Sir Lord Baltimore, and Rainbow. The quintet’s sound is both rooted in this vintage aesthetic, while managing to create their own distinct formula of brain-melting heavy psyche. Up-to-date, their discography includes a self-titled LP, currently exclusively available if you catch them on tour, and a 7″ single, recently pressed to a limited edition run of pink vinyl. But, a curious ear will enjoy a few teases of their releases scattered throughout the internet, providing just enough to sample the frenzied, acid-laced sound that is Scorpion Child.

Earlier this year, Scorpion Child released a music video for “Polygon of Eyes,” both seeming to take on themes of a dark, post-apocalypse. The hightail drive of this track propels the listener into mach 5 with its wailing guitars and machine gun drums, accurately captured in the video by eery chase scenes. “Polygon of Eyes” kicks off with a momentum that never lets up, and a sound that is larger-than-life, fattened out with two guitars and the ’60s/’70s-style groovy bass. The epic, doom-themed lyrics come through in the soulful vocals, which seem to carry the band, constantly pushing and reaching for the peak at the next level of consciousness. The music video compliments “Polygon of Eyes” expertly, wrapping up the video with a redemption sequence that has pure good conquering an occult evil, lending Scorpion Child an even further depth to their soulful, psychedelic sound.