Frog Music Licensing
With a powerful, sultry voice that evokes comparisons to artists as diverse as K.T. Tunstall, Girl in a Coma’s Nina Diaz and Ronnie Spector, Emily Bell has made it to the top of the “must see live” list in Austin, Texas. Her debut album In Technicolor was self-released on May 28, and her single "Back to the Way I Was" was picked up by close to 200 national radio stations and video outlets respectively.
Since then, Bell has done two national tours, performed live on the Ron & Fez Show on Sirius XM, the Artie Lang Show, BreakThru Radio, and even got her own day in Austin when the Mayor proclaimed August 22, 2013 “Emily Bell Day.” Interrobang.com ranked Bell No. 1 on its list of the top five artists to watch at SXSW 2013 - after listening to 1,210 tracks from showcasing acts. Her next single, “Hey Baby,” is getting nationwide distribution on the Austin Convention & Visitors Bureau compilation, Austin Music, Volume 12. Her debut album features nine cuts that cross tracks laid through Delta blues, ‘60s rock, girl-group glam and Motown power. With John Evans, her producer, co-writer, guitarist and partner, Bell has crafted a “here I am” statement and likes to call it “Technicolor rock ‘n’ soul.” After writing and recording in Raphael Saadiq’s Burbank studio in LA with former members of Tony! Toni! Toné!, Bell returned to her Texas roots. With recent live shows including F1’s Fan Fest, KGSR’s Discovery Series, CMJ, Freedom Over Texas 2013, Michelle Clark’s Sunset Sessions and the Armadillo Christmas Bazaar coming up this December 17, Bell is making waves as one of Austin’s hottest new talents. Texas singer-songwriter Hayes Carll says “She’ll knock you down, then lick your wounds, burn up the stage and leave you begging for more.” For more information, see www.emilybell.com.
There's only one way to define Jonny Cat's music: timeless. Best-known as the singer and guitarist for San Francisco's most excellent garage stompers Coo Coo Birds, he spends most of his time recording and touring around the world. He composes many different styles of music including rock n roll, blues, jazz, flamenco, world, classical and others. Jonny usually records all the instruments as well on his tracks with guitar, piano, drums, bass, violin, harmonica, sitar, setar, and other strange instruments.
Fine Gold Music
Courtesy Tier is a three piece rock band from New York City. Rebel blues, vintage rock, hard bop, 90s & soul fuse with towering 3-part harmonies to create a restless noise, served in twilight, with the grit and spirit of their NYC forbearers (Lou Reed, Suicide, Mingus, Patti Smith, Run DMC, Talking Heads, Ramones).
In forming in late 2011, Wildhoney set out to write pop songs with the energy and malcontent of hardcore punk, but without its entrenched masculinity — drawing influences from ‘60s girl groups, ‘80s post punk, indie pop, and shoegaze. The five-piece has since become one of the loudest — and sweetest — bands in its hometown of Baltimore.
North Star Media, LLC
The Blind Shake
The Blind Shake are a psychedelic, garage-punk band from Minneapolis, MN. Brothers Jim and Mike Blaha play guitars and sing while longtime friend Dave Roper plays drums. For over a decade, the track-jacketed, bald-headed trio has gained a reputation for being one of the most intense bands on the national and international tour circuit. With six full-length albums, a surf collaboration with Swami John Reis (Rocket from the Crypt/Drive Like Jehu/Hot Snakes), and three collaborations with psychedelic legend Michael Yonkers, the group spends its hours either recording or touring. Their 2015 release “Fly Right” (Slovenly Recordings) zooms in on an intense, yet more melodic aspect of their sound. The band has had placements for Puma, MTV, CW, Comedy Central, Sunset Overdrive (videogame), Oakley, and Thrasher.
"The Minneapolis trio deliver the weight and density of an Earth riff but married it with punk speed and bite. What's unchanging is their pure intensity.” - PITCHFORK
“[Fly Right is] nine tracks of country-twang tinged garage rock perfection. It's awesome.” - NOISEY
"The Blind Shake is at once spacey, primitive futuristic, and brutal: a kind of backyard extraterrestrial minimal surf-punk party. One guitar, one baritone guitar, a fuckload of reverb, and a drummer who deserves an Olympic medal." --SF Weekly
Le Grand Jones
Scotty Marz and Philip DeFreeze a/k/a Le Grand Jones have been creating music together for well over a decade.
LJG’s music spanning Down Tempo, Chill and Trip-Hop, their special blend of electronic music actually owes more to the synthesizer sounds of the 1970s and 80’s and references such bands as Kraftwerk, Gary Newman, Duran Duran, Yello and Depeche Mode. Other influences that are more readily apparent are psychedelic rock pioneers like Pink Floyd, David Bowie and more contemporary bands that have forged the genre like Zero 7 and AIR, other influences include; UK roots reggae legends Steel Pulse and the Clash.
JSWISS is an youthful emcee and breath of fresh air to the hip hop world. Fans of hip hop’s “Golden Age” in the 90s and artists like Talib Kweli, The Roots and A Tribe Called Quest will love what this lyricist has to offer, as will anyone who appreciates quality content from the heart.
With clever wordplay, positive messages and an infectious energy that drives an exciting live show, JSWISS, who Brooklyn Hip Hop Festival producer Brooklyn Bodega calls “a great representative of the future of the culture,” appeals to hip hop purists and new hip hop audiences alike.
Growing up in the New York City suburbs of Dobbs Ferry, NY and earning a bachelor’s degree in journalism from UNC-Chapel Hill, gives JSWISS a different perspective from most rappers. Mix that with a strong love for hip hop culture and understanding of its history, and you’ve got a once-in-a-lifetime artist. Since releasing his first mixtape in 2009, while a student at UNC, Swiss has gained fans worldwide and received acclaim from music authorities such as 2DopeBoyz, The Source, Complex Magazine, Hip Hop DX, RESPECT Magazine, Bleu Magazine & much more.
JSWISS has shared the stage with the likes of Rakim, The Roots, Big K.R.I.T., 2 Chainz and Asher Roth, performed at the legendary Apollo Theatre in Harlem, the famed Preservation Hall in New Orleans, and SOBs in Manhattan, and worked with the likes of Kooley High, Brown Bag AllStars and soul singers Maya Azucena and Karen Bernod.
JSWISS' "Awthenticity" LP reached fans worldwide and received acclaim from The Source, 2Dopeboyz and more for its soulful, infectious instrumentals and catchy hooks paired with poignant and sometimes brutally honest lyrics.
North Star Media, LLC
Two bearded purveyors of loud who are delighted to represent the antithesis of a primped and polished Metrosexual. Billed as "Seattle's Only Rock Duo", they crank out lo-fi, high-octane, pure rock and roll that sounds like arena-shaking anthems being played in a neighbor's basement or garage. Asked by writer Trent Moorman to describe Hobosexual’s sound, guitarist Ben Harwood summed it up as “Bearded glory. I also love the idea of the 1980s. Not necessarily the actual decade or reality of the 1980s, but more the one-liners, like when Schwarzenegger throws a steam pipe through the chest of his assailant at the end of Commando and says, ‘Let off some steam.’ That whole rhetoric, over-the-top, Reaganomic banter will never be seen or heard again.”
My name is William Boreing, Front man for Stocklyn. We are a Texas band, we play Rock'n Roll and we mean it.
We've all been playing around lubbock since we could convince bar owners to let us in with X's on our hands. Making our living playing our instruments and entertaining Lubbock as best we could. We have all toured with various State wide and National level bands. But at some point I grew a bit weary of the side man role. I still loved playing guitar and I tried to mean every note I played, put my heart into it. But there was always an itch.
So I started (or rather kept) writing for myself. I've always been hugely influenced by Led Zeppelin, Wolfmother, AC/DC, Aerosmith and several other of the greats. But While playing lead for Red & the Vityls, I had an opportunity to really immerse myself into Texas music... not Texas country but Texas music I found that the music I wrote for myself, the music I loved had a home and people who loved and welcomed it.
So I got with my best friends. A small crew but guys that would die for each other. And I decided we would make music for us. By our rules and within our means.
We never went without. Once we started doing it all ourselves a ton of people kicked in in a BIG way! After contacting several local venues to track in their rooms after 3am when the doors lock, or on their closed days I was contacted by Don Caldwell. Talk about a lifesaver! The guy said he believed in the project and wanted to help in anyway he could including letting me use his studio at night when everyone else left free of charge. We had already decided that we wouldn't sacrifice quality for easy at any stage and without this leg up I don't think we could have accomplished that.
With the help of Justin Thomas Williams, Ryan Garza, Seth Ramirez, Justin Lentz, a whole slew of quality people from the Blue Light we did it.
We never gave up on the dream of the highest quality. We didn't have enough money to rent a lot of things we needed for as long as we would have needed, so if we needed a Marshall sound and couldn't get it we Built a Marshall. If we really needed a u87 and couldn't get it we built a mic. Me and Justin Locked ourselves away for countless hours fueled by a desire to "do it right" and with a "why not us" attitude about trying to be great.
When it was done we were Melanee, we had 6 tracks we were really proud of, and even a couple in studio videos!
From there we burned CDs ourselves, made a stamp to have our name on em (having spent every resource on the product already) and started playing shows. Opening for anyone who would have us and playing for anyone who would listen. We've always had the attitude of "do it right" so every show was our last and if both we and the crowd weren't drenched in sweat when it was said and done I chalked it as a failure.
But the response was incredible! I can't say enough about the Texas scene, the Lubbock scene especially, and the Blue Light and Office specifically,
The project was always about making music for us, making music with my friends, and doing the thing as well as we could.
As luck would have it our little record found it's way to sleepwalker studios via Jeremy Boreing where, upon overhearing it played, it caught the ear of David Hodges ans Steve Solomon who run the joint.
David got in touch with me and I started saving, painting fences, selling all my earthly belongings and putting in sweat to have enough money to get my butt to California and sign a record deal.
We retracked the record with me playing almost every instrument, still keeping as many of my friends and original parts as we could. It really mattered to me that it be the best it could without loosing itself and it's roots in great music by great friends.
More recently we were picked up by Scott Weiland & the Wildabouts' camp and given the opportunity to tour the US with 'em. LA to NY to FL, Corpus Christi to Boston and everywhere in between, myself Blake Vera and Seth Ramirez, playing homemade Rock'n roll as hard as we can, and never loosing the get sweaty mentality. We are so grateful to be doing what we love, and getting to share it with so many. The response has been amazing!
"They're an audacious guitar driven strut. It's loud, sweaty, near the edge of excess, and on the cusp of chaos; it's the way rock and roll was meant to be played."
-Thomas D. Mooney, New Slang
In late 2012, Wild Ones was on the verge of collapse. Guitarist Clayton Knapp had blown out an eardrum, the band’s original drummer left the group and his replacement, Seve Sheldon, was in the hospital with a punctured lung, practicing songs on a drum pad with a tube sticking out of his chest. The band’s members had funneled all of their money into a debut record, Keep It Safe, that had taken a year to write and nine months to record and mix. Fans and followers began to wonder if that record would ever see the light of day. It was make-or-break time.
Wild Ones made.
Instead of folding in the face of financial drama, injuries and personnel changes, Wild Ones took a deep breath and adjusted to its new surroundings. This band is used to adjusting. Since its formation in 2010, Wild Ones has insisted on operating as a DIY collective. The band recorded and mixed its debut as a group (with help from engineer David Pollock). Sometimes considering each member’s opinion meant endless revisits and tweaks to the album’s tracks. The process was time-consuming, but it was also worth it. “That was a reaction to the bands we had been in before,” says lead vocalist Danielle Sullivan. “This band was born out of our desire to have a democratic, all-inclusive music-making process.”
Going it alone—even the artwork on Keep It Safe was created by Wild Ones’ keyboardist Thomas Himes—comes with its fair share of challenges. Most of Wild Ones’ debut was recorded in a two-story East Portland warehouse rehearsal space, where the band was surrounded on all sides by rock acts like Quasi and the Thermals. Wild Ones would get to their practice space around 8 am to record, often grabbing quick takes between thunderous drum solos from down the hall. “Somewhere on the record, if you listen close enough, you can probably hear the metal band next door,” Himes says.
“When we went in that room in March, it was raining,” says Knapp. “When we finished recording in October, it was raining.”
Keep It Safe, the album that finally emerged after well over a year of gestation, is bigger than the sum of its meticulously gathered parts. Even now, the band’s sound continues to evolve. Wild Ones’ members come from vastly disparate musical backgrounds—guitarist Nick Vicario was a Portland punk icon long before he turned 18; bassist Max Stein is a classical composer—and all of their experiences inform pop music that is influenced by everything from German techno to American R&B. These are sounds that don’t usually come packaged together, but in the able hands of Wild Ones, they seem like a perfectly natural fit.