SubModern Sessions


FMQB - SubModern Sessions

Pip Brown has been releasing catchy indie dance-pop under the alias Ladyhawke since 2008. Earlier this year she put out her third album Wild Things, full of the most optimistic tunes of her career. She recently sat down with FMQB's Joey Odorisio to discuss the new album, her sobriety and having a stage name. You can also hear three live songs ("The River," "A Love Song" and "My Delirium") recorded for our latest SubModern Session.

FMQB: Ladyhawke is obviously is not your real name. You introduced yourself to me as Pip…does anyone come up to you and call you Ladyhawke? Is it weird to you?

Ladyhawke: Loads of people at shows people call me Ladyhawke. I'm so used to it. It's been my name for so long, I'm totally fine with it.

QB:
Do people say, "Hey Lady" or "Ms. Hawke?"

LH:
Some people call me "Lady" actually, I have had "Lady" a few times. <laughs> It seems like a term of endearment.

QB:
Your new album is Wild Things. What was different about making this record? I know you were in a much better place personally going into making the album than you were in the past.

LH:
I toured my second record for quite a while and when I finished touring I moved to Los Angeles. Instead of giving myself a break, I decided to go straight back into writing sessions and started doing loads of them all around the place. The music I was making was really dark and didn't feel like Ladyhawke. I listened to it and thought "this isn't me" and I realized I was feeling all-around quite terrible.

It went on for a while and it got to the point where I said [to myself], "I need to start doing some good things for myself so I feel better and positive things come out in my music for once," instead of the dark stuff which was trying to come out. So I stopped drinking and got really healthy and just started taking better care of myself as a human being really. After that happened, I met Tommy English, who was my producer. He's from Chicago but based in L.A. and we just hit it off instantly. His studio was a really bright, sunny home studio with loads of light pouring in. [It was] just a really happy experience making it. I really enjoyed it.

QB:
You've said this has been the first tour where you've been completely sober as well. How has that felt while on stage?

LH:
It's been amazing actually. I've felt more present, that's for sure. It's actually been better for my nerves. At first it wasn't and I was overthinking it… "Oh God I wish I could have a beer…" But I actually feel more in control onstage and I like that. I engage more with the audience as much as I can because I'm not very good at making chit chat between songs, but I feel like I've been making way more of an effort.

QB:
What can you tell us about the single "A Love Song?"

LH:
It was my take on a love songs. Love songs are usually written about the first time you meet someone and all those feelings that you have, whereas this one is more like you're a few years down the track and you've gone through loads of stuff together. And if you're still together at the end of it all, it's a good thing, you know?

Find out more about Ladyhawke at LadyhawkeMusic.com or at PolyvinylRecords.com and exclusive live performances of "A Love Song" and "The River" from Wild Things, plus "My Delirium" from her first album on our latest SubModern Session.



~ By Joey Odorisio

Ladyhawke
Wild Things
(Polyvinyl)


We recently welcomed Australian band Cub Sport to record our latest FMQB SubModern Session at Spice House Sound studio in Philadelphia, PA. The band, made up of Tim NelsonZoe DavisSam Netterfield, and Dan Puusaari, performed songs from their full length debut album This Is Our Vice and chatted with Y-Not Radio host / Swell Tone Music blogger Shana Hartzel about the record.

FMQB: What was the idea behind this album? How is it different than what you've done in the past?   

Tim Nelson: I think these songs are a bit more meaningful than our EPs that we put out. I think that we all wanted to make this a bit more mature. Not in a boring way, but just a bit less happy clappy like some of our earlier music was. That was kind of the general reason that it ended up sounding different.

FMQB: What was the writing process like?

TN: I started writing songs as I was recording them; just really rough demos at home in my bedroom. I think having that setting where I could experiment a bit more and try some different things, I felt more comfortable trying stuff that we hadn't really done before. Those demos were pretty much all midi sounds and then bringing the band into that and making live arrangements of them and putting real instruments in, I guess that's how the writing process worked for this and how it wound up sounding a bit different to before. We used to just work on it together. I'd write the songs at a piano and we'd arrange the whole thing in one go in a live setting. The new approach meant that there's a bit more light and shade in the songs and yeah, I think the other ones were pretty much high energy the whole way.  

FMQB: You've got a lot of layers on these songs as well. Did It take a little bit to figure out how they all work together?  

Sam Netterfield: It took a little bit to get used to. I play all the bass lines with one hand and all of my normal parts with my other hand, and then sing as well.

Dan Puusaari: I think that there was a bit of experimenting even with what Tim would play in certain songs - whether he'd pick up a guitar or play something on the keys. In Sam's sound, there's a lot of different layers of things that were recorded in separately. And I think Zoe went from having three pedals to like twelve pedals just to get the plethora of sounds. There's parts where it sounds like a synth and parts where it's really clean. So yeah, it took a bit of time to figure out how to play the songs live.

SN: Some of them came together really easily. It's different for every song I guess.

FMQB: I know that you guys like a lot of hip hop and R&B. In your older material that wasn't as prevalent and now it really shows through.

TN: For sure. I think there are certain songs like "It Kills Me" and some of the backing vocals in "Only Friend" and "Stay." It was an opportunity to experiment with melody and sing in a slightly different way, bring a little bit of R&B to Cub Sport's sound.

FMQB: I want to talk about your single "I'm On Fire" for a little bit. Where did this song come from because it sounds a little bit like literally being on fire? Is there any of that in it?

TN: Yeah, there is actually. It's a pretty hectic story behind the song. I started writing it in 2010 or something before Cub Sport was even a band. I wrote it about a friend of a friend who got broken up with and then set herself on fire on her ex's front lawn. And that's what it's about.

FMQB: Oh wow! Not too many pop songs usually get that literal. I'm sorry for that person.

TN: Yeah, I kind of try not to think about it that much when we're we're playing it cause it's pretty heavy. That song was kicking around and we've tried a few versions of it over the years and when it came time to record the album we decided to have another go at it. I think we got it to a place where it fits in nicely and we really like it now.

FMQB: A lot of funding has been cut for musicians in Australia. Have you guys dealt with that at all?

TN: Before the cutting, we've been fortunate enough to receive funding to be able to come overseas and do all sorts of things like play at CMJ and The Great Escape. For us that funding from the government has been really important and if it is cut there'll be some great acts that might miss out on some opportunities overseas.

You may have missed Cub Sport's U.S. tour last month, but keep an eye on them via social media (they love Snapchat) as they play their biggest Australian shows ever with The 1975 this month. See the video for their new single "Only Friend" here and find out more at CubSport.com or Nettwerk.com. And of course hear exclusive live performances of songs from This Is Our Vice in our SubModern Session.



~ By Josh T. Landow

Cub Sport
This Is Our Vice
(Nettwerk)


This week New York natives Caveman will release their third album, Otero War. I recently sat down with frontman Matthew Iwanusa and guitarist Jimmy Carbonetti to chat about the new record's concept, their tour with Frightened Rabbit, working with Matt's dad, and more.  Plus the band performed acoustic versions of some of the album's songs for another exclusive FMQB SubModern Session.

Josh T. Landow: Tell me about Otero War. First of all, what does that mean? 

Matthew Iwanusa: It's a story about… there's a whole thing in the album that explains it. It's a war of men trying to escape the grips of a distant planet.

JTL: The album a story itself?

Jimmy Carbonetti: It's a concept record.

JTL: Since this is your third album, you did things a little differently. You were more prepared heading into the the recording process, rather than putting it all together in the studio as you've done in the past?

MI: Yeah, the songs were already written and we played them for a long time. It was the first time where it was like "this part is actually not working, what can we do?" I feel like other times we would let things sit, but this time we were like "it's good, but we could make it better," and we really tried to focus on that.

JTL: Can we go back in time and tell me about how Caveman got together?

MI: Sure. Jimmy and I went to high school together in Manhattan.

JTL: So, you're a New York band that's actually from New York? Because most of them are not.

JC: The unicorn of bands.

MI: Yes, it's very rare. So yeah, we went to high school together and played in a lot of bands over the years. Then we met Jeff. He was a bartender at a place we would always go to and he was in tons of bands. And that's kinda when we met Sam too. Sam and Jimmy were working at a Guitar shop together. Then all of our bands kind of broke up at the same time so we were like, let's just do this. That's kinda how it all started back in 2009-2010.

JTL: So you just had your five year anniversary of the band. You had two albums before this. Speaking of album titles, your first one was CoCo Beware, like the 80's wrestler? Were you inspired by his parrot?

MI: I loved wrestling as a kid, but someone randomly mentioned that and I was like, that would be a cool album name, but let's just spell it different and go from there.

JTL: So no copyright infringement. Did you ever hear from him?

MI: No, never.

JTL: You're currently on tour with Frightened Rabbit? It's not your first big tour, but how did it come about?

MI: Yeah we've played with a lot of good bands - The War On Drugs, Built To Spill. This one came up just cause our manager gave them the record and they liked it. I don't know.

JC: We had an in.

MI: And it worked out perfectly because their record just came out and ours is about to. They've been really cool and supportive.

JTL: Matt, your father did string arrangements on the album?

MI: Yeah.

JTL: So I assume you grew up in a musical household?

MI: Yeah totally. My mom is a saxophone player and a music teacher. My dad did a lot of things in the Jazz world and is a professor.

JTL: Was this the first time that you collaborated musically?

MI: To me, yeah. To him, he was like "It's just like that time I did that song for your college movie you made," and I didn't even remember that.

JTL: I'm sure he was thrilled that you didn't remember.

MI: But it was great! It was so fun to have him do it and I was really happy about it. But it was funny because he's totally professional, like has everything down more than anybody, but then there's little things where it's stressing me out to get the printer to work for him or something. Eventually it's still Dad, y'know.

JTL: Has he joined you on stage for a performance?

MI: No, we haven't done that ever. My mom has played with us on things though in the old days.

JTL: After this tour are you gonna come back around on your own after the album's out?

MI: Yeah, I think in September.

For now you can see Caveman traverse the spacescape of the Otero War in their video for single "Never Going Back" and hear acoustic performances from Matt and Jimmy right here on our SubModern Session. Also catch them throughout the summer at festivals like Forecastle, Panorama, Outside Lands, and ACL. Find out more at CavemanTheBand.com or CinematicMusicGroup.com.





~ By Josh T. Landow
Caveman
Otero War
(Cinematic)

After releasing three albums in their home country of Norway, the guys of Death By Unga Bunga have finally made it to the States with their latest, Pineapple Pizza. I recently got to chat with several of the members, Sebastian Ulstad Olsen, Preben Sælid Andersen, and Stian Gulbrandsen about their name, their songs, and their attitude. Plus the band performed some songs live for another exclusive SubModern Session.

JL: Congratulations on the new album coming out here in America! You've been a band for seven or eight years, right and you all got together in high school? 

DBUB: Yeah, We've been recording and giving out albums for the last five years. We were kids and we played for a long time of course, but it takes time to find the right formula. But the last five or six years has been serious.

JL: And you call got together while you were in school?

DBUB: Yeah, we all went to the same high school and started hanging out and drinking beer and listening to rock n' roll.

JL: I have to ask how'd you come up with the name Death By Unga Bunga? I think we all know the joke.

DBUB: They don't know the joke back in Norway. That's the thing. We get away with it there, but now that we're here, it's like "oooohhhh..." There's a band called The Mummies from the west coast and they had an album in the 90's called Death By Unga Bunga. We thought it was a killer name so we just went for it and then we heard about the joke so we had no idea. It's not a good joke. People don't really laugh, they just get sick. It's just a sick story that's not true.

JL: But you're stuck with it.

DBUB: Yeah, but it's a good name.

JL: Is Pineapple Pizza more like your live shows than your previous albums?

DBUB: It is. For the first time we did the whole record live in the same room in five or six days in this cabin in the northwest of Norway. We just recorded the whole album.

JL: Is that a lot faster than you'd worked previously?

DBUB: Oh yeah, I think it was forty-six days on the second album. So that's an improvement. We were just much more efficient on this one. We knew the songs and had been gigging a lot. We produced them ourselves. Less compromises!

JL: So do you think this is the best representation of your band?

DBUB: Definitely! No doubt!

JL: And is that why it was time to break here in America?

DBUB: Yeah. It took us some time to find out how we're gonna sound on a record because we know how we do it live. Now I think we've found a good format.

JL: Coming here wasn't a huge culture shock for you though, because you grew up on American pop culture. What were some of your favorite things from America when you were growing up in Norway?

DBUB: Just watching MTV. That was a thrill for me. I was skipping school to go home and watch music music videos. But then they stopped showing music videos, but back in the 90's I guess. We learned a lot from Baywatch, and what's the Al Bundy show?

JL: Married With Children.

DBUB: Yeah, that's my favorite. Those jokes are so not cool now. They're sexist. It's hilarious.

JL: But I certainly wouldn't call your band politically correct. You're a little edgy and dirty.

DBUB: We want to stay far away from the political. We're not U2. People need fun music and fun bands. We want to say things when we write our songs, but it doesn't have to be about how depressed you are because you broke up with your girlfriend. Rock n' roll is about having fun and not giving a $#!+ about anything. The lyrics on this one are mostly based on things we've experienced ourselves now that we've been touring a lot. Melted cheese is a song theme and a ride to space. Just fun stuff.

JL: Yeah, "Lady Fondue" is the single. How did you think to compare love and cheese?

DBUB: Well, my favorite cheese of them all is melted cheese. So we wrote a love song about melted cheese and it kind of works the same way as if it was with a girl. Maybe people think it's about a girl, but we sing about cheese, but I guess it's the opposite way where we sing about the lady, but it's actually about our intense love for cheese.

If you didn't catch Death By Unga Bunga on tour in the U.S., you can hear them performing songs from Pineapple Pizza for our latest SubModern Session. Find out more at DeathByUngaBunga.Tumblr.com and JansenPlateproduksjon.no. Check out their video for "Lady Fondue" here.




~ By Josh T. Landow
Death By Unga Bunga
Pineapple Pizza
(Jansen Plateproduksjon)

You've been hearing a lot from Brooklyn trio Sunflower Bean for a little while now.  They recently released their debut full length album Human Ceremony.  Last month I had the opportunity to sit down with the band for a chat and to oversee a live studio session including performances of songs from the album at Kawari Sound in Wyncote, PA.  Sunflower Bean is Julia Cumming on bass and vocals, Jacob Faber on drums, Nick Kivlen on guitar and vocals

JL: Congratulations on the album! I heard a bunch of the shows on this tour have been sold out.

JC: Thanks! Yeah, yeah, in a lot of the cities that we've been to before, we've had a really nice turn out after the album. It's our first time really headlining the United States, so every show that's been sold out has been a really awesome surprise for us.

JL: It seems like things are really starting to happen for your band, but tell us about how you got your start.

NK: When I was in 11th grade, I was gigging in a band called Turnip King and our drummer was headed off to college because he was two years older than us. Jacob started filling in for him and when I was in 12th grade, I started writing some of my own songs and playing them with Jacob, and we really clicked.

JC: And then I saw Nick and Jacob play as Sunflower Bean two times before I joined the band. We were all kind of friends through the music scene, because I was in another band from when I was 13. They asked me to be the bass player and maybe singer depending on how things went.

JL: I should mention that when you said 11th and 12th grade, that wasn't all that long ago because you're all pretty young.

JC: Yeah, I just turned 20. I'm the youngest one.

JL: And I assume that college was back-burnered by the band.

NK: Me and Jacob actually did a year.

JC: And I just went straight into Rock ‘N Roll University!

JL: Being "all ages people," how important is it for you to play all ages shows?

NK: Super important!

JF: A lot of the towns and cities have different laws concerning it so sometimes it's impossible unless you want to play at 3 in the afternoon. It's hard with that, but I think we try to do it as much as possible because I think teenagers are the ones who need it the most. They're the ones who are really affected by the music.

NK: Even though it's less money for us to make, it's still worth it because our demographic I feel like is mostly 14 to 20 year olds and then 50 to 60 years old.

JL: I noticed that at your show. I'm always happy when I'm not the oldest person at a show, which I was not. Could it be that you appeal to such a wide range of age groups because you're influenced by a wide variety of music. I don't think I've ever seen as many comparisons made to so many bands that are all over the map, such as Elastica, Blondie, House of Love, Felt, a John Hughes soundtrack and even Stone Temple Pilots.

JC: I don't know. I think that Sunflower Bean is really collaborative. We're three musicians with a lot of different influences and hopefully try to bring them together to create something that's new or original and hopefully doesn't sound too nostalgic. We wouldn't want to sound like a cover band or pick one time or one decade and just do that. So I think maybe that's the reason that people hear a lot of different things in it and that's cool.

If you didn't catch Sunflower Bean at one of their 12 SXSW shows last month, they're currently on tour throughout the U.S. with dates stretching into the summer. You can also hear them live on our latest SubModern Session below. Find out more at FatPossum.com and check out the new video for "Easier Said" here.



~ By Josh T. Landow
Sunflower Bean
Human Ceremony
(Fat Possum)

Brooklyn's TEEN, comprised of sisters Teeny, Lizzie, and Katherine Lieberson, along with Boshra AlSaddi, just released their third full length album Love Yes last week and I recently had the opportunity to chat with them about the record at Spice House Sound in Philadelphia.

JL: Love Yes is your third album. What have you learned along the way that influenced how you made this record?

TL: I think we've just become a better band. Since Boshra joined, we've toured a lot. I think that's changed our dynamic of how we write and play music and influenced how our sound is now. And I think we also really enjoy recording live. That's something that we definitely learned from recording the last record, which we multi-tracked. It was good, but we didn't feel that it really captured the sound of the band the way that a live recording does. We were really trying the capture the human feeling of the band. We didn't want it to sound perfect.

JL: I feel like each of your albums, you change your overall sound and do something a bit different. Has that been a conscious goal?

TL: Yeah, I don't think we're ever interested in doing the same thing twice. And it's just natural. I like different things all the time and I'm influenced by different music all the time so I'm constantly changing as a writer. That affects the band and I feel like also just playing more and more affects how you play together.

JL: I understand that environment came into play a lot in the writing and recording process. The band is based in New York, but you went back to your [the Lieberson sisters] home in Nova Scotia to make the record?

TL: That's where we went to record. I wrote songs in Kentucky and we actually did a band retreat in Woodstock, NY that was sort of a failure, but Lizzie wrote an amazing song that's on the record, "Please," there, so it wasn't a total failure. 

JL: Why Kentucky?

TL: There's so much music in Kentucky and also so much space that I think I lost any self-consciousness that I may have in a more urban environment or distraction. You can just kind of experiment and not worry about the fashion side of music, because I don't care about that as a writer.  But it sort of trickles in, living in New York City.

JL: I read a statement where you called this your most feminine album. Is it also your most feminist? Would you define those as two different things?

TL: Lyrically I suppose so. Femininity, I feel like, has to do more with the sensual side of being a woman… for me personally. I cannot speak for all women. How I relate to my femininity is probably being more in touch with the sensuality part of who I am as a woman, and I think that that is part of the record. And then also the feminist part of the record, it just ends up being a topic in my songs because it's something that women have to deal with all the time – sexism and the more political / social side of being a woman in the world.

JL: Is that something that you set out to write about for this album?

TL: I think honestly it plays a little bit into the losing some self-consciousness that I was talking about. It's just something that's always on my mind and I feel more confident speaking about and writing about now, being a little more culturally observant in my songs. I think I used to be a little more shy about that. I didn't set out to do that. It wasn't a conceptual thing, just a natural thing that happened.

TEEN has just embarked on a U.S. tour through early April that will take them to SXSW. Check out their new video for "Free Time" here and listen to their live performance of that song along with "Tokyo" and "All About Us" on our SubModern Session here. Find out more at TEENtheBand.net or CarparkRecords.com.



~ By Josh T. Landow
TEEN
Love Yes
(Carpark)

In their short time as a band, Philadelphia's Beach Slang have had a great deal of success, leading to the release this week of their full length debut The Things We Do To Find People Who Feel Like Us. There is some pedigree here as frontman James Alex hails from veteran Pennsylvania punk band Weston, not to say that Beach Slang hasn't earned their own cred.

Following two EPs in 2014, the band signed with Polyvinyl Records for this intense 27 minute, 10 song body of work, which I recently got to chat with them about for our next SubModern Session. Hear James perform acoustic versions of the album's first two singles "Bad Art & Weirdo Ideas" and "Noisy Heaven," and learn more about the band's background, inspirations, and future plans. Listen to this exclusive performance and interview HERE and feel free to share it on your station's website or social media. If you're interested in airing this on your show, please contact me at jlandow@fmqb.com.

If you're looking for other suggestions from the album, start with "Throwaways,"  "Ride The Wild Haze," and "Young & Alive." Hopefully you can catch Beach Slang for a plugged in rock show while they're on tour this November.  See if they're coming to your town and find out more about them at Beach Slang.com or PolyvinylRecords.com.




~ By Josh T. Landow
Beach Slang
The Things We Do To Find People Who Feel Like Us

(Polyvinyl)

The L.A. husband and wife duo of Chris Senseney and Stefanie Drootin-Senseney make up the core of Big Harp, who recently became a full-fledged three piece, with the addition of drummer Daniel Ocanto, for their third album Waveless. The new album finds the band exploring a more rock-oriented sound than their previous two.

With songs like "Diev," "Numbers," "Golden Age," and "Image" all receiving specialty airplay in the weeks since the album's release, I was happy to have the opportunity to sit down with Chris and Stefanie for our latest SubModern Session. You can hear them talk about the history of the band, what it's like to tour with their kids, Stefanie pulling double duty with The Good Life, and most importantly hear them play acoustic versions of some of their tunes. Listen to this exclusive performance and interview HERE and share it with your listeners on your station's website or social media. If you're interested in airing this or any SubModern Session on your show, please contact me at jlandow@fmqb.com.

Big Harp heads back out on tour this November, through the Midwest and West Coast, with The Good Life. Find dates and see videos for "Numbers" and non-album single "It's A Shame" at BigHarp.com..



~ By Joey Odorisio
Big Harp
Waveless
(Majestic Litter)

Canadian indie rockers Tokyo Police Club have been longtime SubModern favorites, going back to their 2007 EP A Lesson In Crime. During the making of last year's TPC album Forcefield, singer/bassist Dave Monks moved to New York City from his "home and native land" of Canada. Monks also got into a new relationship, which helped inspire the songs that make up his first solo release, the EP All Signs Point To Yes.

The six song set is full of minimalist, charming tunes, kicking off with the handclaps and keyboards of "Vegas." You've heard the single "Gasoline," which is actually one of the mellower tracks on the EP, with its tasteful brushed drums and keyboard flourishes. "The Rules" is a standout, bringing the hooks that Monks is known for from TPC, and culminating into almost a mini-Arcade Fire catharsis at the very end. "Heartbeat Blues" is a wistful song about feeling invisible to people all around you.

In the end, All Signs Point To Yes is a slight but very likeable collection of winning songs. Monks has been on a short solo tour which brought him to MilkBoy in Philadelphia, where we recorded his set for another SubModern Session. Listen to this exclusive performance and interview with FMQB's Josh T. Landow HERE and share it with your listeners on your station's website or social media. If you're interested in airing this or any SubModern Session on your show, please contact jlandow@fmqb.com.



~ By Joey Odorisio
Dave Monks
All Signs Point To Yes
(Dine Alone)

Back in February, Minnesota natives Hippo Campus, fresh out of high school, released their debut EP Bashful Creatures and they've been picking up steam ever since. In fact, shortly after the EP was released, the band was among the most talked about new acts at SXSW. Now I realize that all of this was a while ago, but with a very busy summer of touring ahead for the guys, including major festivals like Lollapalooza, Made In America, Reading, and Leeds, it seemed like a good time to revisit their impressive six song set that includes singles "Suicide Saturday" and "Little Grace."

My ulterior motive is to share my recent interview with Hippo Campus and the live performance that goes along with it, for our latest Submodern Session. Listen to this exclusive session HERE and please share it with your listeners on your station's website or social media. You can also see video of this performance, recorded at Bourbon & Branch in Philadelphia, here. If you're interested in airing this or any SubModern Session on your show, please contact me directly at jlandow@fmqb.com.

After listening to the session you can check out their Gallagher-esque video for "Little Grace" that we talked about here, or their appearance on Conan here. Find out tour dates and more at HippoCampusBand.com or GrandJuryMusic.com.



If you're interested in airing this session on your show, please contact Josh T. Landow.

By Josh T. Landow
Hippo Campus
Bashful Creatures EP

(Grand Jury / INgrooves)

You may remember the rich, sultry voice of Arizona native Zella Day from last year's single "Sweet Ophelia" or her folky take on The White Stripes' "Seven Nation Army." Now Zella's full length debut album Kicker has arrived, featuring the songs you've heard from her EP and a lot of new material, running the gamut from from singer-songwriter fare to spaghetti western sounds to dance jams.

I recently had the opportunity to sit down with Zella to chat about the record and hear her perform (almost) acoustic versions of some of its tunes, including "East of Eden" and "Jameson," for our latests Submodern Session. Listen to this exclusive session HERE and feel free to post it on your station's website. Please contact me if you're interested in airing this session on your show.

Of course I recommend delving deeper into Kicker as well, with songs like "Jerome," "Hypnotic," and current single "High" that would all sound great on the radio. Find out more about Zella Day and see videos at ZellaDay.com. Catch her live on tour this summer including stops at the Firefly Festival this weekend and Lollapalooza next month.




If you're interested in airing this session on your show, please contact Josh T. Landow.

By Josh T. Landow
Zella Day
Kicker
(Pinetop / Hollywood)

Springtime Carnivore is the latest musical offering from talented singer / songwriter Greta Morgan. You may remember Greta from her previous bands The Hush Sound and Gold Motel. When writing the songs that would come to make up this album, she felt such a personal connection to them that compelled her to start a completely new solo project, playing and recording almost everything on her own.

Greta and the band that she's put together to tour as Springtime Carnivore recently paid me a visit at Spice House Sound studios in Philadelphia for our latest SubModern Session where they shared insights into the creation of the album and played live versions of some of its highlights, "Name On A Matchbook," "Sun Went Black," and "Keep Confessing." Listen to this exclusive session HERE and contact me if you're interested in airing it on your show.

You can find out even more about Springtime Carnivore at SpringtimeCarvivore.com or on Facebook, and check out the video for "Name On A Matchbook" that we discuss in the session here.





If you're interested in airing this session on your show, please contact Josh T. Landow.

By Josh T. Landow
Springtime Carnivore
Springtime Carnivore
(Autumntone)

Philadelphia's Cold Fronts have a had a pretty fantastic couple of years after being unknowingly discovered at SXSW by Seymour Stein of Sire Records, the man who signed The Ramones and Madonna. The whirlwind will culminate later this year with the release of their full length debut, but late in 2014 the band put out an obligatory pre-album EP, Forever.

The EP is a quick listen, with four songs coming in at under 15 minutes, but it hits hard, kicking off with the one two punch of rockers "Hit Me" and "Know It All." Those will both be appearing on the upcoming record, but the second half of the EP, the catchy "Jackie" and more experimental "Faded," will not be.

I recently sat down with frontman Craig Almquist and the band at Cambridge Sound Studios in Philly for a chat, and more importantly to record our first SubModern Session of 2015. You can listen to this exclusive live performance HERE, and find out more about Cold Fronts at ColdFronts.us





If you're interested in airing this session on your show, please contact Josh T. Landow.

By Josh T. Landow
COLD FRONTS
Forever EP
(Sire)

Mike Doughty's prolific output has increased exponen, tially in recent years. Since his last album of new material (2011's Sad Man Happy Man), he released a covers album, two live records and an album's worth of re-recorded Soul Coughing songs, after distancing himself from that material for years. His newest album Stellar Motel was released in September.
       Doughty's last few releases have been fairly lo-fi and stripped down but Stellar Motel gives his sound a good shake-up, by incorporating plenty of Hip-Hop into the material. Doughty worked with indie Hip-Hop producer Good Goose on Stellar Motel, which essentially goes back and forth between straightforward guitar tunes and Hip-Hop tracks. Stellar Motel kicks off with the great lead single "Light Will Keep Your Heart Beating In The Future," which is built around an ominous banjo sample. Much of the record alternates between classic solo Doughty songs such as "When The Night Is Long" and "These Are Your Friends," and wackier Hip-Hop collaborations like "Oh My God Yeah F*** It" and "Let's Go To The Motherf***ing Movies." Multiple under-the-radar guest rappers appear throughout Stellar Motel, trading off verses with Mike on tracks such as "Let Me Lie" and "Pretty Wild."
       After two decades of music making (Soul Coughing's debut album recently celebrated its 20th anniversary!), it's great to see Doughty still experimenting and musically mixing things up.




If you're interested in airing this session on your show, please contact Josh Landow.

By Joey Odorisio
MIKE DOUGHTY
Stellar Motel

(Snack Bar / Megaforce)
One of my favorite new bands this summer has been the Scottish duo Honeyblood, consisting of lead singer/guitarist Stina Tweedale and drummer/singer Shona McVicar. I don't think I would have guessed that there were only two of them making so much "crunch pop" as they call it. Not to say that it's all loud and raucous tunes. There's a range of sounds on this impressive debut from fuzzy rockers like "Killer Bangs," "Fall Forever," and "Choker" to more harmonious tunes like "Bud," "(I'd Rather Be) Anywhere But Here," and "Fortune Cookie."

We recently had the chance to spend some time with the delightfully charming ladies of Honeyblood for another SubModern Session where they performed live renditions of some of the album's highlights, plus we found out about all the calls that Stina got from her exes after the release of their venom spewing single "Super Rat" and the very sweet story behind "Killer Bangs." The session is available HERE and can be embedded on your station's website or aired on your show.



Find out more about Honeyblood at Honeyblood.co.uk or Fat-Cat.co.uk.

By Josh T. Landow
Honeyblood
Honeyblood
(Fat Cat)

It's not often that you hear about a Canadian/Irish hybrid electronic band, but I'm here to tell you about one (the only one?) right now. The five piece Nightbox makes some very interesting sounds using unconventional methods on their sophomore EP The Panic Sequence. Their songs are equal parts danceable and fist-pumpable and catchy as hell. If you're looking to fill that M83 sized hole on your playlist, check out single "Burning" or go a little deeper with the title track and "In The Rural."

I recently sat down with the band to talk about the EP (and the impressive sight of their fiery video for "Burning"). You can hear that interview and more importantly a live performance, including a couple of brand new, yet-to-be-released songs, in our latest SubModern Session. It's downloadable for airplay HERE or to embed it on your website HERE.



Find out more about Nightbox at Nightbox.ca or RareBeef.net.

By Josh T. Landow
Nightbox
The Panic Sequence
(Rare Beef)

Over the last few years City Rain have become a mainstay of the Philadelphia electronic music scene, but as founder Ben Runyan teamed up with Scott Cumpstone for his latest effort Songs For A High School Dance it became clear that it was time to reach beyond the city of brotherly love. Perhaps you've heard their single "The Optimist," but now check out a live SubModern Session from City Rain including two more songs from the new album. It's downloadable for airplay HERE or to embed it on your website HERE.



Find out more at CityRain.info.

By Josh T. Landow
City Rain
Songs For A High School Dance
(Self-Released)

When English band The Duke Spirit decided to take a break for a little while after 2011's Bruiser album, members Liela Moss and Toby Butler began working on music together that was departure from their norm into the world of electronic music. Recently releasing an EP, followed shortly thereafter by a debut full length album Zeal, Roman Remains has become more than just a side project for the two.

Many of you have played their lead single "This Stone Is Starting To Bleed" as well as album tracks "Animals" and "Tachycardia," but you probably haven't heard the songs of Zeal as you will in our latest SubModern Session where Leila and Toby perform acoustic renditions of some of the album's tracks. Check out the session for yourself and share it with your listeners. It's downloadable for airplay HERE or to embed it on your website HERE.



Find out more at RomanRemains.com.

By Josh T. Landow
Roman Remains
Zeal
(Hot Records Ltd.)

Eternal Summers are a dreamy, shoegazey, fuzzy trio, hailing from one of the last places you'd expect – Roanoke, VA. With the release of their 3rd album The Drop Beneath they have both maintained the upbeat jangly pop sound that they firmly established on 2012's Correct Behavior, yet taken a darker turn away from it.

Many of you have been playing their current single "Gouge," but there is plenty more to be found on The Drop Beneath. For those looking to go deeper, try "100," "Never Enough," "Make It New," or "A Burial." Find out more and check out their live performance in our latest SubModern Session, recorded at MilkBoy The Studio in Philadelphia. It's available for you to download and play on your shows HERE or embed it on your website from Soundcloud.


You should have ample opportunity to catch Eternal Summers live as they are touring all over the place through May. Find out if their travels will bring them anywhere near you at EternalSummersBand.com or KanineRecords.com.


By Josh T. Landow

Eternal Summers
The Drop Beneath
(Kanine)

When a band has been around for as long as Sam Roberts Band has, there are always those fans who who say "I like their old stuff better." With the release of SRB's sixth album Lo-Fantasy a few weeks ago, I find myself saying the opposite. I love the way that Sam Roberts Band has evolved and improved album after album with Lo-Fantasy perhaps being their best work yet!

Recognizing that they were heading in a more danceable direction, SRB chose to work with Youth (Killing Joke, The Orb), a producer who they knew would push them beyond their comfort zone. That's not to say that Lo-Fantasy doesn't sound like a Sam Roberts Band album, because it does, but with a little extra something to it (including a bonus disc of full-on dance remixes). Delving a bit deeper than first single "We're All In This Together," you'll find the equally excellent "Shapeshifters," "The Hands of Love," Kid Icarus," "Too Far," and smooth album closer "Golden Hour."

Hear a few of those songs performed live in our latest SubModern Session, recorded at World Café Live in Philadelphia. It's available for you to download and play on your show HERE or embed from Soundcloud.



Catch Sam Roberts Band at the SXSW "M For Montreal" showcase on March 13th or on tour on the west coast and Midwest throughout March. Get more info and dates at SamRobertsBand.com or PaperBagRecords.com.

By Josh T. Landow

Sam Roberts Band
Lo-Fantasy
(Paper Bag)

When I first heard Drowners' single "Luv, Hold Me Down" a few months ago, I thought, "what a great new British band." Then I heard that they were a New York band and I thought, "what a great New York band trying to sound British." Then I found out that frontman Matthew Hitt actually is a transplant and former model from the U.K. and then I just thought, "what a great band…period." Actually as I've listened more and more to their self-titled debut full length, Drowners have come to remind me the most of early era Strokes. I can only wish as much success on them.

I recently had a chance to meet up with the band at MilkBoy in Philadelphia for another SubModern Session performance. If it's possible Drowners raw energy comes through even more live! This session is available for you to download and play on your show HERE or embed from Soundcloud.



If you're headed to SXSW this year, you owe it to yourself to check out Drowners, or see them on tour this spring. Get more info at DrownersBand.com or FrenchkissRecords.com.


By Josh T. Landow

Drowners
Drowners

(Frenchkiss)

If you enjoyed Blondfire's Where The Kids Are EP as much as I did last year or the title track inspired you to go out and buy a Honda Civic, then you're probably as happy as I am that their full length record (featuring the entirety of the EP) is finally here! If you didn't spend any time with more than just the EP's title track, then I'm almost envious of you because you get to enjoy all of Young Heart as brand new. Aside from the EP tracks and the titular single, which comprise the first 5 track of the album, some highlights to consider for your shows are "Dear In Your Headlights," "Wild and Wasted," "We Are One," and "Life of The Party."

For those who don't know much about Blondfire, it's the project of brother-sister duo Bruce and Erica Driscoll, who grew up in Grand Rapids, Michigan, but were inspired just as much by the music from their mother's native country Brazil, where they spent a lot of time. Find out more about that and hear songs recorded live at MilkBoy in Philadelphia for our very first SubModern Session, available for you to download and play on your show HERE, or embed this Soundcloud player onto your website:



If you liked what you just heard, hopefully you can experience it live as Blondfire is just wrapping up a tour with Royal Teeth and heading out again with The Sounds in March and April. Get tour dates and more info at Blondfire.com.

By Josh T. Landow

Blondfire
Young Heart
(Tender Tender Rush / INgrooves)


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