Wake Up Lucid
Wake Up Lucid
On their upcoming fourth release Gone With The Night, Los Angeles gutter rock trio Wake Up Lucid puts it simply: “Give us something real, something we can feel, or get fucked…” This statement resounds as both rejection of fakery and pursuit of honest music, which have remained Wake Up Lucid’s only guidelines for writing and performing throughout the half decade’s worth of their existence. The new album was produced by Icarus Line’s Joe Cardamone at his studio, Valley Recording Co. in Burbank and is being released March 31 on WUL Records.
Gone With The Night is a sampling of the fruits of the group’s determined efforts to develop further as song-writers, offering songs that are much more focused and realized, and diversely dynamic — a departure from the band’s usual m.o. of grit and groove hammered-out at high volumes — while still maintaining the inimitable Wake Up Lucid vibe that has crept around L.A. for the past few years.
Their authenticity and immediacy as writers and performers is rooted in their experience of growing up together in the same extended family—a musical one to boot. After pursuing their respective musical aspirations in other outfits, they formed their own some six years ago, distilling their now matured, ripened abilities into the woozy sound that is Wake Up Lucid.
Early on, cousins Ryan, Ian, and Jamie set up home base at Silverlake Lounge, honing their writing and performance skills in front of one of the most demanding audiences in the world. What resulted was…being offered an album release party, then a residency, followed swiftly by media acclaim from the likes of Rolling Stone, LA Times, Vice/Noisey, Filter, Nylon, MOKB, KEXP… and plenty of others!
After making repeated rounds in Los Angeles, a few West-Coast tours and a slot on a SXSW Urban Outfitters Series bill, Wake Up Lucid began landing TV placements, with songs being featured on Discovery Channel’s Weed Wars, Carson Daly Show (NBC), Nashville (ABC), and a two-song live performance on AXS.tv. They teamed up with VonZipper Sunglasses providing the soundtracks for several short films and have had their music feaured in Oakley, Patagonia, Hurley, Fox, Quicksilver, Me Undies and Under Armour ads.
Much of their crucial development as a band has been facilitated by Joe Cardamone who has acted as producer and assisted in the fine-tuning of the band’s sound on three releases. Joe has this to say about Wake Up Lucid:
“Each production that I have been a part of with Wake Up Lucid is proving to be exponentially more expansive than the previous. I heard a confidence in their sound this time that was really exciting. Providing them with an environment to take chances has paid off and Gone With The Night is a testament to that. This EP is a warning to what will be coming on the new LP. One of the best bands with guitars in their hands.”
Polyvinyl Records, LLC
After forming Wampire, Rocky Tinder and Eric Phipps steadily began to make a name for themselves in the same Portland, OR, scene that has
produced labelmates STRFKR as well as Unknown Mortal Orchestra.
It makes sense, then, that Wampire came to Polyvinyl's attention when the duo opened for STRFKR at a hometown Portland show and that UMO's bassist Jacob Portrait produced Wampire's debut full-length, Curiosity.
The choice of Portrait was a natural one, with both Tinder and Phipps believing he'd be able to contribute almost as much to the record as they would.
And so, in mid-August Tinder and Phipps each brought fragments of song ideas into the studio, before deconstructing, re-arranging, and fitting them back together piece by piece -- at times lyrics and melodies were thrown out, brought back from the dead, or improvised on the spot.
This loosely structured approach made the process truly collaborative, with producer Portrait occasionally chipping in ideas for lyrics, arrangements, and instrumentation. The resulting nine tracks are instantly memorable, while defying easy categorization. Says Phipps, "We realized the record began to stray away from having a 'sound' and gradually became a platter with an assortment of sounds. The record showcases a flavor we haven't quite dug into before."
The album's diverse combination of sounds ultimately helped give birth to its title, Curiosity -- a word that invokes the listener's wonder at what will greet their ears next, while also describing the overall curious tone the record possesses. First single, "The Hearse" serves as the perfect introduction for those unfamiliar with the band -- its opening notes swelling instantly with electronic organs over a driving drum beat. By the time bass and vocals kick in, you're already hooked.
Elsewhere, "Orchards" weaves an infectiously breezy melody on the strength of vocal harmonizing, tuneful whistling, and undulating guitar lines. In some cases, Wampire's unique rhythms are best described by the band members, as with "Trains," a Motown-meets-Strokes track that Tinder perfectly summarizes like so: "It's sexy, sounds huge, and by all means should be blamed for future babies."
The album concludes with the equally sensual "Magic Light," a song centered around a dark seductive bass groove that sets the tone for Phipps' come-hither lyrics. It's the kind of track that draws you ever further into the record's beguiling clutches, leaving a lasting impression that remains well after its final notes have faded out.
We Are The Arsenal
We Are The Arsenal is a 4-piece rock band based out of southern California Formed in 2006, the band has self-released 4 EP's and 1 full-length album. Most recently, the group released their most focused and mature album to date. "American Folklore," released on 3/26/13, explodes with seven tracks of guitar-driven, down-home rock & roll. Storytelling lyrics, shredding guitar solos, and powerful hooks collide to shape what has become the definitive We Are The Arsenal record.
Following in the footsteps of so many other iconic Orange County rock acts, WATA continues to carve their own niche in an ever-changing musical landscape. Over the last 7 years, this steadfast group of musicians has taken the state of being an unsigned band and turned it into an art form. Without label backing or funding, We Are The Arsenal has watched dozens of their peers fall by the wayside, while continuing to tour, release new music, and headline southern California's most prestigious venues.
Chief songwriter & vocalist Ryan Terrigno and Kansas City-bred Lead Guitarist Caleb Blacksher round out WATA's string section, while Bassist Alex Seielstad, and heavy-handed drummer Kris Dufour complete the rhythm section.
Third Side Music
We Are Wolves
The now mythic trio, We Are Wolves, presents an honest and uncatchable sound; a bit like celestial lightning hitting a sacred mountaintop. Mainly inspired by visual arts, they paint a post-punk landscape, scattered with analog trees. Their primitive approach remains true to their animal of predilection: untamable. Disciples of rock and electronica - it’s at the junction of those two movements that We Are Wolves made their den.
WELSHLY ARMS combines their love of blues with rhythm and soul & good ol’ rock and roll, to create a fresh throwback sound that represents their Midwestern roots. Comprised of Sam Getz (vocals/guitar), Brett Lindemann (keys/vocals), Jimmy Weaver (bass/vocals), and Mikey Gould (drums), Cleveland-based WELSHLY ARMS pays homage to many of their collective musical influences. Listen to “The Touch” or “Two Seconds Too Late” from their debut E.P. Welcome, and you just might hear a little Jimi Hendrix, The Temptations, Otis Redding, or Howlin Wolf.
Launched in early 2013, the band debuted their video single for “Two Seconds Too Late” and garnered over 25,000 views on its first day of release. With buzz quickly building WELSHLY ARMS rocked their first headline show to a sold-out crowd at the Beachland Tavern, capturing the attention of many Clevelanders including fellow musicians and local press. Throughout the year, WELSHLY ARMS continued to establish a reputation for strong, spontaneous, and explosive live performances, from SXSW 2013 in Austin, TX to Los Angeles’ Hotel Café to House of Blues Cleveland, among many others.
In the fall of 2013, WELSHLY ARMS expanded their reach when three of five tracks from their debut E.P. were placed in promotional spots on television’s CW Network, including “The Touch” on Vampire Diaries and “That Voodoo” on The Originals. Following the success of their first E.P., WELSHLY ARMS recorded a 6-song Covers E.P. that released in late February 2014, giving a fresh spin to songs such as Sam and Dave’s “Hold On I’m Comin” & Roy Orbison’s “You Got It”.
WELSHLY ARMS is currently hunkered down at a house on Lake Erie about an hour outside of Cleveland to write and record their first full-length record, due out later this year. When not consumed by all things Welshly, you can find any of these four Clevelanders at a local dive bar throwing darts, drinking Great Lakes brews, and listening to their favorite tunes.
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.
Ghost Town, Inc.
Band of snowboarders from Salt Lake City. Men of few words.
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.
Work Drugs is a sedative-wave / smooth-fi group from an abandoned pier on the banks of the Delaware River in beautiful Philadelphia, PA.
Work Drugs makes music specifically for boating, sexting, dancing, yachting, and living.
Work Drugs is Benjamin Louisiana (more instrumental/less vocal) and Thomas Crystal (more vocal/less instrumental).
Xray Eyeballs is the brainchild of O.J. San Felipe. Originally from San Francisco, O.J. landed in Brooklyn in 2000, but only after numerous cross-country adventures.
Upon settling, O.J. quickly cemented himself in the underground Brooklyn punk, noise, and indie scene playing in numerous bands including Golden Triangle (Mexican Summer, Hardly Art). While Golden Triangle is known as an all around party band that bashes out garage pop tunes that could easily be found on a Nuggets compilation, O.J. had something else in mind for Xray Eyeballs. Starting as a solo project, O.J. aimed to make pop songs that kids could remember after leaving the party. O.J. explains, "I just wanted to make every song sound like a lullaby. To me, lullabies are the most memorable kind of songs; everyone remembers them from when they're babies. They're not all happy lullabies either. I think people like songs they can relate to, with things like love, loss, dark vices, and sex." So while these songs are filled with dreamy pop hooks and melancholic melodies, they are all covered in a spooky haze.
Once O.J. had the framework for the songs, he gathered fellow Golden Triangle band mates Carly Rabalais (Bass, Vocals) and Jay High (Guitar, ex Gogogo Airheart), along with Rop Style (Synth, Theremin, Beats, formerly of the famed band Pee Chees), and Allison Press (Drums). Together, their live show rivals the crowd up into a huge party frenzy, like their fellow garage contemporaries (and buds) King Khan and Black Lips, except it's carried out with a New-Wave Pop twist. Drawing comparisons to the frantic pop of Jay Reatard and the Urinals, and the moodiness of Velvet Underground and Jesus and Mary Chain, Xray Eyeballs twist it all into their own pop concoction. Liz Berg from WFMU described their sound as, "fuzzy, over modulated garage pop at a languid trot."
To date, Xray Eyeballs has been playing around NY, and if you live here, there is a good chance you've seen Xray Eyeballs 'ghost girl' t-shirt given away to skaters, punks, indie rockers and goths. It's like a badge for a secret society. O.J. says, "I like the shirt because you don't know if it's a band or a skateboard company or what. People always ask for it. Even kids in the projects from Bed Sty ask for them, so I keep making them to giveaway. People that have it almost seem like they belong in a secret cult, which I like. It's like that story of how the Germs had those t-shirts before they even had a band! I like that mentality."
Unlike the Germs, Xray Eyeballs has had two sold out cassettes on Night People Records and Party Store Music, as well as an upcoming 7" single on Hozac. Their debut album Not Nothing will be released April 19th, 2011 on Kanine Records. For next year, Xray Eyeballs will venture out on the road, in attempt to grow their (not for long) secret cult of followers.