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It's not just great song writing, warm guitars, a nut-tight rhythm section, and the occasional blues harp riffs that make The Stone Foxes' second album, Bears and Bulls, so good; the Bay Area four-piece consisting of brothers Shannon and Spence Koehler, Aaron Mort, and Avi Vincour have captured something else on this recording that makes the whole thing huge, and very, very cool.

Listeners sense it right away. There's a genuineness here that's rare and refreshing, and it's something that can't be achieved simply by grabbing a couple of vintage axes and plugging into a stack of tube amps. Because while The Stone Foxes may be influenced by the greats of the late 60s and early 70s like The Band, Bob Dylan, and Led Zeppelin, they never sound like they're trying to be anything but exactly who they are. But then they don't need to: their style of blues-rock stands on its own.

Still though, there's something about Bulls and Bears that sets it well apart from other records. And to understand what it is, what makes this record so unique, so good, you need to know how The Stone Foxes approach their music.

"We'll never be a traditional studio band," says Aaron.

"Yeah, our music was written to play live," adds Avi.

That makes perfect sense to anyone that's been to one of their shows: it's clear the Foxes care far more about performing their music for living, breathing human beings than an empty room filled with microphones.

So rather than holing up in a studio, writing songs in a void, then cutting an album and touring it, The Stone Foxes work their new material out on stage over a period of months, playing it for their fans. And that's part of what makes their shows, and this new record, so special. Each song in their arsenal has evolved organically over time, taking on a unique personality while retaining the core DNA that makes it a Stone Foxes original. Every song, every lick, every fill on Bears and Bulls has had its own unique path to maturity, taking the energy and feedback from the live experience and making it a critical part of the music.

When it was time to cut the record, the band knew that in order to capture the real soul of the music it would be critical to maintain that energy, those unique aspects of each song. So Bears and Bulls was recorded with virtually no overdubs, at a studio they built themselves.

"Recording in our own studio really allows us to connect directly to the listener," says Vincour. "It comes right from us to the fans."

As a result, Bears and Bulls is an audio snapshot of exactly who and where The Stone Foxes were musically when they recorded it. It's a reflection of their live show and a tribute to the interplay between musicians and fans. It's a moment in time captured digitally, then mixed by Alex Newport and mastered by John Cuniberti in beautiful, warm, old-school analog. Just like it should be.

Spence Koehler, who along with brother Shannon grew up in the Sierra Foothills before moving to the Bay Area a few years ago, points out another thing about the new record that makes it unique. "You know," he says, "all the instrumentation on the recording is the same as it is live."

Right, the instrumentation thing: The Stone Foxes don't have a set lineup on instruments. Since each song is unique, who plays what changes depending on the song's personality. Shannon may come out from behind the drums to sing and play harmonica while Avi replaces him. Aaron, Spence and Avi regularly swap rhythm, lead, and bass duties, and every member sings lead on at least a few songs. But it's no gimmick: like everything The Stone Foxes do, the instrument and vocal changes are a function of the natural evolution of their music and what works best on each song.

"It doesn't matter who writes the lyrics," says Shannon, "if someone else has a better voice for the song, they sing it."

And the way they play it live is the way it's laid to tape.

So you've got this band of players that can actually play, writers that can actually write, none of whom seem to have much ego: it's about the music and the band over all – not the individual. You turn them loose to create songs that evolve and mature over time, then you drop them in a studio to track a record on their own terms. As it turns out, what you end up getting is something way deeper and more heartfelt than most bands ever deliver.

You also get a hint of what they'll become. Because this collection of songs, from the raucous fun of "Stomp" to the slow grind of "Through the Fire" from the bad ass lick that opens "Patience" to the down and dirty blues of "Mr. Hangman" could only have been created by a band that's fearless about following their music where it leads, and has the skills to share what they learn on the trip. And it's a trip they're still taking: The Stone Foxes and their music continue to evolve, and continue to deliver live shows that blow the doors off of venues along the way.

When asked if there's one thing that they want their fans to know, there's no hesitation: they say they have a huge amount of fun playing live, loved capturing their work on the record, and that they wouldn't be doing any of this if they didn't.

Really though, that's completely unnecessary to mention: one listen to the record, one visit to a gig, and all that is clear from note one.

The New Mastersounds are a four-piece band based in Leeds, England, whose modern take on vintage soul-jazz, funk and rock draws influences from Jimmies McGriff, Smith, and Hendrix, as well as their most closely-associated mentors, The Meters. Try to imagine Grant Green and Lou Donaldson having a fight in a Hammond Organ shop while James Brown holds the coats, and you have some idea of what to expect from this band.

Their first single, One Note Brown, was released on Blow It Hard Records in 2000 and was passionately championed by acclaimed Northern Soul and funk DJ Keb Darge. To date, the band has released four studio records: 102%, This Is What We Do, Be Yourself, Keb Darge Presents... as well as The New Mastersounds Re::Mixed, and Live At La Cova. Also of note: their single, "Your Love Is Mine" featuring Corinne Bailey Rae, was used in the 2007 Warner Brothers movie Feast of Love.

Having toured throughout Europe, Japan and the USA, the NMS have earned global recognition as a key band in the 'New Funk' scene. But purists beware: their unique blend of funk, rock, soul and dance music is hard to sum up and doesn't fit neatly into any one genre.

Headed soon to a city near you, The New Mastersounds deliver gritty grooves and deep rhythms in clubs, theater venues and festivals alike. Their live shows will get you up dancing and hold you there intoxicated by the funk until last call- when you'll stagger home, sweaty and exhausted, on a wave of euphoria.

Led by guitarist and producer Eddie Roberts, The New Mastersounds feature Joe Tatton on Hammond, Pete Shand on bass and Simon Allen on drums.

Cut City formed in Gothenburg, Sweden in 2002 around the local Deleted Art label, sort of the Swedish counter-part to U.S. art-punk imprints like Three One G and Tapes Records. In May 2005 they issued a 4-song EP on the California-based Gold Standard Labs label, home to such acts as The Locust, Year Future, GoGoGo Airheart and many more. Drawing comparisons to groups such as Echo & The Bunnnymen and Joy Division as well as newer bands like Interpol and Editors they at the same time echo the past as much as the future. (Photo:  Robert Samsonowitz / RBRT CREATIVE)

All Hailing from Vancouver, BC, Chains Of Love had serendipitous beginnings. The members of Chains of Love were actually all close friends before forming in December of 2010 but all belonging to different projects varied within the garage rock scene. Despite the variation of sound between projects, there was always a common factor, "Little Red Sounds Studios."

Felix Fung being the owner/operator of the studio is usually behind recording most if not all garage/punk bands in Vancouver, Little Red Sounds became somewhat of a haven for young musicians in the city and Clint Lofkrantz being one of them. After many years of working simultaneously with each other, guitarist Clint Lofkrantz brought up the idea of starting a "Girl Group", that radiated Spector sounds, featured motown basslines, and was heavy in percussion. He presented this to Felix and together they sorted the players as such: Steve Ferrrera, who is hands down the busiest drummer on the west coast tapping out at 5 bands; Henry Beckwith on piano reminding us of how beautiful a piano should sound; Rebecca Marie Law Gray who's harmonies and guitar complete almost every song; and lastly Nathalia Pizarro to front what would become Chains Of Love with her unique sense in style and eccentric voice.

With the talent in place, Chains started by referencing certain artists such as Gail Harris, Ike & Tina, The Ronnettes, and The Shangri-la's by using their lo-fi recording styles as a blueprint for what they wanted to hear in music today. Chains of love has effectively bridged the gap between the nostalgic pop sounds of the 60's with a modern and elegant twist.

Emanating from the barrier dunes of Virginia, Freedom Hawk’s heavy riffs, rolling groove, and soulful guitar melodies to produce a sound that is distinctly their own. The trio’s brand of heavy rock capitalizes on the best of the heavy ‘70s, but presents a fuzzy take that’s modern and based around quality songwriting rather than style-over-substance retro posturing.

Guitarist / vocalist T.R. Morton, bassist Mark Cave and drummer Lenny Hines made their debut on Small Stone with 2011’s Holding On. The follow-up, and their fourth album overall, is Into Your Mind, which brings a new dynamic to their buttery fuzz with all the stomp and swagger one could ask for after Holding On, but with a more pointed delivery, assured and farther ranging than their last time out, grown more into their style than ever before.

Songs like “Journey Home”, “Lost in Space” and “The Line” push the boundaries of what Freedom Hawk have previously accomplished sonically, bringing in elements of laid back psychedelia and space rock to the band’s otherwise terrestrial song-craft. Veterans already of Roadburn in the Netherlands, Freedom Hawk return to Europe in support of Into Your Mind, playing Germany’s Freak Valley Festival prior to the release with more live dates to follow as they continue to expand their reach both in terms of music and fan-base around the world.

For fans of: Clutch, Fu Manchu, Crobot, Black Sabbath, Grand Funk, Greenleaf, Lord Fowl, Gozu, Lo-Pan, ASG, and all things that Rawk

Some dudes just sound like they were born to do it, and listening to the classic heavy rock groove of The Socks, there can be no doubt it’s what they’re made for. They’re naturals. The double-guitar French foursome formed in Lyon in 2009 and started surprising audiences almost immediately, eventually settling down to pump out their debut EP the following year.

2010’s Side A was five songs well concentrated from a band still feeling out where they wanted to go. You had your Sabbath, your Zeppelin, and The Socks supported the release by playing with an array of national and international acts, busting out energetic, intense gigs while continuing to develop their style. The next two years drove the band to write darker songs, hit harder, become thicker, more powerful, more calculating and less frenetic.

The resulting 2012 EP, Bedrock, soon caught Small Stone Records’ eye, with strong instrumental performances from Jess (drums), Vincent (bass), Nico (guitar/keys/vocals) and Julien (vocals/guitar), the latter also serving as the frontman and delivering a guttural but memorable vocal performance throughout the tracks, psychedelic in some places and elsewhere delving into a neo-grunge moodiness that was a change from the first release. During Fall 2012, The Socks completed their first European tour, drawing on experience garnered from festivals and gigs alongside Karma to Burn, Red Fang, Truckfighters, Horisont, Mars Red Sky, Black Rainbows and many others with whom they share some elements while still maintaining a personality of their own.

Simply put, they were a hit. Small Stone picked up the band and is set to issue their first full-length in 2014, as the band continue to thrust themselves into Europe’s next generation of heavy rock and roll alongside acts like Abrahma, Deville, Asteroid, Isaak, Black Rainbows and Mother of God. Look for The Socks to continue their momentum into 2014 and beyond, in the studio and on the road, and expect nothing less than some of the finest riffs the continent has to offer. That’s how it goes when you deal with naturals.

The Socks are:
Julien: Lead Guitar & Vocals
Jess: Drums & Percussions
Nico: Guitar, Keyboards & Vocals
Vincent: Bass

Saddle up the horses and take your guns to town boys because the Sun Gods in Exile are back. After a three year silence Portland's God's of Southern Fried Biker Boogie Rock have cowboy-ed up and returned to shake the dried clay from your boots and put a little swagger in your step. Ten thunderous tracks titled "Thanks for the Silver" that add just a little more southern than fried this time around and take aim with their six shooters hitting the target every single time.

Formed in early 2008 by four guys that worship at the altar of vintage rock, Sun Gods In Exile is more than the sum of their respected pasts. After a brief stint in Boston's Cortez, Portland, Maine guitarist Anthony D'Agostino hooked up with old friend bassist JL, late of Ocean, to get back to basics and to play the kind of old school rock and roll that they both love. Augmented by the rock steady addition of Johnny Kennedy on drums and centered around the southern-fried vocals (and guitar) of Adam Hitchcock the boys of SGIE quickly became a club favorite all along the eastern seaboard, garnering opening slots with many including Roadsaw, Hackman, Mess With The Bull, The Brought Low and many others. Hearing what Tony & Co. had we here at Small Stone quickly signed Sun Gods In Exile and sent them into Mad Oak Studios to record their debut album “Black Light, White Lines.” 2010 saw the band making their debut at SXSW as well as trips up and down the coasts and a first foray across the pond. After three years and countless devastating live shows the band returned to Portland to re-group and write what would become "Thanks for the Silver." In the process, SGIE added a fifth full time member, Christopher Neal, on the keys as well as swapping JL for his brother Mark on bass.

"Thanks for the Silver" shows the Sun Gods in Exile truly coming into their own. Adam and the boys haven't just traded in their beer and muscle cars for whiskey and horses. "Thanks for the Silver" presents a band self-assured and self-aware with all the strength and swing of the first album and yet more mature at the same time. Christoper's adddition on organ, harmonica and slide guitar add flourishs only hinted at on "Black Light, White Lines" without detracting from the power that Mark and JK are pounding out. And Tony D hasn't given up a lick of ground when it comes to riffs and solos. Check it out and we hope you'll agree and say "Thanks for the Silver."

For fans of: Black Crowes, Allman Brothers, Blackfoot, The Brought Low, Infernal Overdrive, James Gang, AC~DC, Alice Cooper, Gideon Smith & The Dixie Dammned, Shame Club, The Cult, Dixie Witch, Roadsaw, Lynyrd Skynyrd, and Molly Hatchet.

French-American multi-instrumentalist and stunning vocalist Sydney Wayser has emerged with her sophomore album The Colorful, a more lighthearted follow-up to 2007's The Silent Parade. It presents a collection of songs decorated with the playfulness of toy instruments while maintaining 22-year-old Wayser's sense of intimate and serene elegance. Praised by NPR for her "natural gift for melody and musicianship," The Colorful demonstrates a developed maturity that showcases this gift clearly and delicately. Now based in New York, Wayser grew up in LA, spending her summers in Paris. She quickly gleaned much of French culture from her songwriter father, leading her to musical influences that include Edith Piaf, Charlotte Gainsbourg, and Jacques Brel, among many others. This European sensibility is evident on both The Silent Parade and The Colorful, each filled with tunes that could easily provide a soundtrack to a Godard film or a playful scene from Jeunet's Amélie. The Colorful, as a whole, feels like a sonic representation of this transition through the earth up towards the light. With an unwavering sense of charm and wit, melody and phrasing, Wayser's latest offering is an irresistible invitation to follow her into the light; an invitation not to be denied.

The longing in Julie Hardy’s voice is palpable. It’s a gorgeous voice, filled with warmth and pain, seemingly in contrast with the icy synths and computerized sounds that lurk behind her heartache.  But within Clementine & The Galaxy, these two worlds meld together just fine. A retro/futuristic spin on pop, the Brooklyn duo craft evocative electro sounds with a human heart. Hardy may sing “I’ve been programmed not to miss you,” but it’s her soulfulness that propels the whooshing synths and cinematic flourishes of her bandmate/partner Mike MacAllister.

Think the grand drama of St. Vincent, a sprinkle of Bowie’s stardust. Electro-pop gems with a mod sci-fi motif.

Clementine & The Galaxy officially debuted in 2011 with the release of the single “Crying My Whole Heart Out.” Word spread quickly. The duo garnered a feature in Interview (“a pop duo with their hands on synthesizers and heads in the cloud”) and praise fromTime Out New York (“Spacey, playfully proggy art pop in the Bowie lineage”). Since then, they’ve released a self-titled EP, a well-received cover of Nirvana's "Heart Shaped Box" and a popular remix of Big Data's “Dangerous,” among several others. 

This year, Clementine & The Galaxy will unveil their second EP,Midnight Machine, released by Jillionaire of Major Lazer's Feel Up Records.

Ajay Bhattacharyya and Amy Kirkpatrick, both 25, first came together two years ago in their hometown of Victoria on Canada's Vancouver Island. Kirkpatrick had moved to Vancouver proper, where she started using her training to do lights for the city's biggest clubs. Bhattacharyya, meanwhile, had come to the city to study sound design for film.

From the circuit-bending tonalities mirroring Nine Inch Nails to the feminine aspect evoking the mystical eroticism of Lykke Li, The Data Romance E.P. provides the first taster of what to expect from the band's full-length album, due out in 2012.