March 22nd, 2019
March 22nd, 2019
February 22nd, 2019
30th Century Records has announced the eagerly anticipated new album from acclaimed singer-songwriter-producer Sam Cohen. The Future’s Still Ringing In My Ears arrives on Friday, May 17. Co-produced by Cohen with Danger Mouse, The Future’s Still Ringing In My Ears is heralded by today’s premiere of the angry but groovy Beatles circa ’66 vibe of “Something’s Got A Hold On Me.”
Cohen will celebrate The Future’s Still Ringing In My Ears with a North American tour supporting his friend and longtime collaborator Kevin Morby. Dates begin May 8 at The Theatre at Ace Hotel in Los Angeles, CA and then continue through a two-night-stand at Chicago, IL’s Thalia Hall on June 7 and 8.
SAM COHEN ON TOUR 2019
ALL DATES w/KEVIN MORBY
8 – The Theatre at Ace Hotel – Los Angeles, CA
10 – The Catalyst – Santa Cruz, CA
11 – The Fillmore – San Francisco, CA
13 – Crystal Ballroom – Portland, OR
14 – The Showbox – Seattle, WA
15 – Imperial Vancouver – Vancouver, BC
17 – The State Room – Salt Lake City, UT
18 – The Bluebird Theater – Denver, CO
31 – Town Hall – New York, NY
1 – 9:30 Club – Washington, DC
2 – Union Transfer – Philadelphia, PA
3 – The Sinclair – Cambridge, MA
5 – The Opera House – Toronto, ON
6 – The Ark – Ann Arbor, MI
7 – Thalia Hall – Chicago, IL
8 – Thalia Hall – Chicago, IL
Known both for his distinctive work producing such artists as Kevin Morby, Benjamin Booker and Rhett Miller among others, as well as a founding member of Apollo Sunshine and Yellowbirds, Sam Cohen has long been hailed for his otherworldly brand of naturalistic psychedelia, rich with enchanting songcraft, blissed-out soul grooves, and visionary guitar work. The Future’s Still Ringing In My Ears proves his most magical effort thus far, equally blessed by melody, melancholy and depth. Predominantly the work of one man toiling away alone in his studio but sounding like a cast of many, the album sees Cohen taking stock of a maddening present and a potentially dark future with one-of-a-kind heart, warmth, and wit.
The Future’s Still Ringing In My Ears was born out of a production session where Cohen was to collaborate with Danger Mouse on another artist’s material. When the session fell through, Danger Mouse suggested they spend the studio time on some of Cohen’s own material. Though Cohen had not written any songs since his acclaimed 2015 solo debut, Cool It, the sessions prompted him to begin putting pen to paper once again.
“Brian really helped me get motivated to make this record,” says Cohen. “His support pushed me to get started, and to value myself as an artist. It came at a time when I needed to hear that from someone.”
Recording at his own Brooklyn studio gave Cohen the luxury to record in haste and sculpt at leisure, imbuing his songs with exploratory synthesizers and truly transcendent guitars. Its slow gestation gave The Future’s Still Ringing In My Ears even greater depth and power, its extraordinary melding of the handmade and homespun etched with artful exactitude and uncompromising vision.
“For years I was like, ‘Alright, humans are killing the Earth — we had a good run, but…party’s over, guys!’” Cohen says. “It pains me more now. You can’t protect your kids from what’s to come.
“The only way to go on is to laugh at it a little, because the weight of it and the profundity of the problems can destroy you. What I want for this music is to connect with people struggling with these same thoughts and feelings. I want people to hear this and say, yes, this is all really heavy, and I also feel helpless, and we don’t have any good answers…but we have each other. And this music sounds really good! It’s all I can offer.”
CONNECT WITH SAM COHEN:
THE FUTURE’S STILL RINGING IN MY EARS
RELEASE DATE: FRIDAY, MAY 17
I Can’t Lose
Something’s Got A Hold On Me
Man On Fire
No Good and Trying
Let The Sun Come Through
Waiting For My Baby
February 13th, 2019
Big Search has announced a new album Slow Fascination to be released April 12 on 30th Century Records. The LA artist Matt Popieluch worked with producer Rob Barbato (Kevin Morby, Girlpool, Cass McCombs) to expand upon his reputation for twelve-string guitar, bringing in harpsichord, synthesizer and piano to devise his most sonically dynamic offering yet. Guest vocalists including The Shins’ James Mercer, Grizzly Bear’s Ed Droste and Kacey Johansing further intensify the collection.
Billboard premiered the first taste of Slow Fascination today, a “mellow yet impactful rock tune.” Matt Popieluch describes it as “an ode to the anxiety hanging in the air since the election, where both real and imagined catastrophe are constantly looming.” This is one of several evocative experiences the album examines for Popieluch, following the songwriter from the disorienting end of a marriage through a period of nomadic insomnia to a landing point of mid-30’s existential mutiny.
Matt Popieluch is a West Coast troubadour known for playing with the likes of Cass McCombs, Foreign Born, Papercuts, Glasser and Sky Ferreira, but performing as Big Search, his music boasts a satisfying semblance to sounds of an earlier time. Popieluch’s tasteful blend of nostalgic and inventive makes a memorable impact upon listeners, one of whom was label head Danger Mouse. The famed producer has said of his growing roster, “I’m not trying to shape the way these bands sound on the label at all. I’m looking for things that I like or that I connect with.” Read more about Big Search in the album bio below.
Big Search, Slow Fascination
Big Search: It means always looking.
Slow Fascination: It means learning slow.
First came the end of Matt Popieluch’s marriage. Then came a period of rambling and travel. He rented out his house. Trimmed weed on a California farm. House-sat for a producer friend. Worked for a nonprofit soup kitchen in Hollywood. Wrote. Recorded. Created Slow Fascination. Produced by Rob Barbato (Kevin Morby, Girlpool, Cass McCombs) at Comp’ny studio in Glendale, CA, the album is an evocative examination of experiences. Slow Fascination will be released April 12, 2019 on 30th Century Records.
The album is audibly set in L.A., where Popieluch has lived for 14 years. The city — forever spinning in a seasonless time warp, invisibly hurtling toward some unnamed singularity — can mess with your head. The effect is palpable here. In some ways, the record feels like the interior monologue of someone who is straddling worlds, each song a blurry vision of golden brown. Work is never done. Days go by. Oh well.
The stirring album opener “Slow Motion Train” delves fearlessly into this romanticized confusion, building and warping listeners’ vision with each ringing note. According to Popieluch, the song is about “feeling detached from reality while being subjected to it; not knowing how to interact with the world from your dimension; how time passes without seasons.”
What’s even more bewildering is the song’s radical, instrumental fullness. Though best known for his 12-string guitar, here, Popieluch forgoes the usual for a harpsichord and analog synth — the great Dave Smith OB-6, to be exact — masterfully melding the two in a dizzy collision of past and future. It’s a fluid and eclectic wealth of sonic sensations, touching the likes of Jade Warrior, the Everly Brothers’ In Our Image, Paul McCartney, Brian Eno.
Lead single “Here Comes The Night,” too, can whirl a mental state into wonder. It’s an all-too-resonant ode to political anxiety, a post-election state in which both real and imagined catastrophe are constantly looming. Popieluch cites “the weather and the behavior of animals before a storm, being on the precipice of an unknown chasm” as driving elements in the song and elaborates, “it’s also about resistance.”
Both “Stillness in the Air” and “Wire Walker” transcend structure with stream-of-consciousness songwriting. The former, Popieluch envisioned in his sleep while travelling through Sweden and scribbled down in a jolt upon awakening. The latter, he affectionately calls “a dream journey.”
Lucky track number seven, however, diverges from the burst approach. “What To Say” is an exquisitely contained centerpiece, one of careful emotion and gentle hope. Its instrumentation is as stunning as its sentiment. Not often can an artist so honestly evoke Nick Drake. Never so casually. Popieluch claims it as a personal favorite and admits its roots in his break-up. He says it’s about “the time at the end, and the period of traveling that followed, and the questions you ask yourself in those situations.”According to the singer, “It’s a reevaluation of what transpired through different eyes.”
Matt Popieluch’s history is peppered with musically diverse endeavors — from fronting Foreign Born to playing with Cass McCombs, Sky Ferreira, Fool’s Gold and Papercuts among others — evidence of his distinguished skill as a player. Notable collaborators on his new album speak to the distinction he’s earned. Grizzly Bear’s Ed Droste, The Shins’ James Mercer and Kacey Johansing among others make fervent contributions to an already lively collection.
On the album cover, Popieluch sits among waves of fog rolling over Mt. Tamalpais, his hat pulled snug over his eyes — perhaps reality’s glare is too blinding in that moment. But on Slow Fascination, the singer finds refuge, peace among the madness. The album as a whole, it sounds like getting comfortable being lost. It sounds like life being lived.
February 12th, 2019
Rochester psych pop quartet Maybird are back with a new single, “Don’t Keep Me Around” via 30th Century Records. This is their first effort since 2017’s Unraveling EP, produced by The Black Keys drummer Patrick Carney. Shimmering synths introduce a bubbling kaleidoscope of tremolo guitars bouyed by Josh Netsky’s euphoric vocals.
February 12th, 2019
Oakland experimental indie musician Nathan Salman aka Waterstrider shares new music for the first time since his 2016 debut Nowhere Now via 30th Century Records. After a year fraught with fires that threatened his Northern California home and an infection that left him in the ER, Waterstrider has turned his personal turmoil into triumph and his new single, “Weaker One,” is the proof. Full of complex musicality and angelic falsetto, Salman is primed to release his new EP, Way Out, on March 1st, 2019.
February 12th, 2019
Bay Area band Maus Haus, shares High School / White Kids”, continuing their unique sound of contradictory layers of too-weird synthesizers, sound collage, and polyrhythms wrapped in alternate visions of shiny pop futurism.
February 12th, 2019
February 12th, 2019
Big Search shares a stunning rendition of “To Feel In Love,” originally released by Lucio Battisti in 1977. The Italian love song is emotionally stirring and sonically full, qualities not uncommon to Big Search’s own output.
Matt says of his choice to cover the song, “Ever since I heard the English version of ‘To Feel In Love,’ I felt connected to it, like I had written it. That’s usually the case with songs I cover: I play them endlessly until they feel part of me. I feel like it’s also a way to turn others on to the original, which is incredible and criminally under the radar.” With the exception of flutes and synths, “To Feel In Love” was recorded live with Jason Quever (Papercuts) at his Los Angeles studio, Palmetto Recording.
December 3rd, 2018
The track epitomizes the band’s recognizable soulful psychedelic sound. Subtle yet emotive, the track builds like a forlorn heartbeat toward its rousing chorus. Warm instrumentals and a stunning vocal melody act as a remedy for the track’s bittersweet lyrics:
Oh I never thought a single moment in a day could change
My life, my life
Oh every problem is a pain that I don’t want to face
Cause if I turn around then I know we’ll
November 20th, 2018
Grandaddy have shared their first bit of music since 2017 by way of a new single “Bison On The Plains”.
Of the single the band’s Jason Lytle says:
“Setting out with the intent of replicating the ‘feel and vibe’ of the song ‘Drive’ which is one of my favorite Cars song’s …I got a little of the way into “Bison on the Plains” (BOTP) and realized I had failed.I blamed the lame new spot I had set up my studio in Portland Oregon. In the basement of some super pretentious magazine lured by cheap rent….I just really was not feeling it.
I stopped working on BOTP and cursed my new studio location and immediately began disassembling everything …eventually moving out and setting up all my gear in the living room of my little house in Portland. A recent divorce and a purging of all domestic belongings/furniture made setting up all of my gear easy and convenient. This location also ended up being where I wrote and recorded most of Last Place the most recent Grandaddy album.
Anyways…I thought BOTP might make the cut for Last Place but it did not. Apparently it still had some baggage carried over from whence it came. I loved the words though…and didn’t want to give up on it….so it simply got shelved in some incomplete form until I could come back and spend some more thoughtful time with it. So here it is.
It sounds as if the words are about the melodramatic lengths I go to… and methods I employ… to frame an image in a song. Almost jokingly. But respectfully.
Like all of the noises, sound samples, buttons, keys, circuits, wires, strings, and gear it takes for someone like me to facilitate the lonely looking image of a solitary bison standing out on the open plains.
I have no regrets of being a songwriter that cannot simply just pull this off with an acoustic guitar and some lyrics. I need my” tricks of the trade.”
Anyway.. Im just relieved I got the song out of that dank basement and out into the light.
Grandaddy’s last album, Last Place, was released in March of 2017. It marks a perfect addition to the band’s celebrated, critically-acclaimed catalogue, that includes their breakthrough sophomore album, Sophtware Slump, and their debut, Under the Western Freeway. It’s a symphonic swirl of lo-fi sonics and mile-high harmonies, found sounds and electronics-gone-awry mingling with perfect, power pop guitar tones. Lytle’s voice sounds as warm and intimate as ever, giving graceful levity to the doomsday narratives that have dominated the Grandaddy output.