BrandsForBands

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.

A 4 piece garage-punk combo from Nashville, TN, Heavy Cream write and play with the martial simplicity and force of the Ramones and the cocky, bad-girl swagger of the Runaways, all filtered through an imagination informed by lo-fi noise and trash-culture wit. Heavy Cream was formed by vocalist Jessica McFarland and guitarist Mimi Galbierz in December 2009 over the course of a few late night hangs at the Snack Palace. The current line-up includes McFarland, Galbierz, the stellar additions of DC transplant Rachel Hortman on the drums and Dillon Watson of D. Watusi on the bass. Hortman brings pure energy to the group flawlessly executing each song without stopping to take a breath. Watson's pocket playing drives the performance, and has breathed new life into the band.

McFarland first moved to Nashville in 2006 from Paris, TN with the intent to pursue visual art. Shortly after arriving in Nashville she joined forces with Daniel Pujol of PUJOL and Wes Traylor of Natural Child to form MEEMAW in which she played drums. When the era of MEEMAW came to a close McFarland stepped up to write and perform as lead vocalist in her own project, teaming up with local Nashville bad-girl Galbierz to write the distorted pop gems you know and love today. As Heavy Cream honed their stage act, the band became one of the leading acts on the Nashville punk scene, as well as earning a growing out-of-town following through endless touring. The band traveled to San Francisco to record their second album, with Ty Segall and Eric Bauer serving as producers; Super Treatment was released through Infinity Cat in the spring of 2012.

Super Treatment is one of those albums that you just can’t go wrong with. There is not one track that isn’t raw, edgy and deliciously distorted. Super Treatment wears a fuzzy coating and is sonically more experimental than their first more straight forward record Danny, produced by Jake Orrall, but nothing can mask the gorgeous lo-fi creature that is Heavy Cream. The first track “’79” just bubbles with Seth Sutton’s grindy bass and the steady but perfectly tiny drums of Tiffany Minton. There truly is an overall vintage tongue in cheek feel with Heavy Cream, which is lovingly brought out in “T.V. Preachers.” The raw, up-beat energy of each track enhances Jessica’s charmingly surly vocals and maintains a reverence to the sarcastic punk attitude of the late ‘70s/early ‘80s. Not to mention Mimi Galbierz’s glorious, horn-like, guitar buzz in “John Johnny” blew a few synapses in my brain, making Super Treatment a heavy cream treat.

The best rock ’n’ roll, the kind that gets under your skin and makes all your senses heighten, is simple and comprised of hard work and unrelenting passion—all of which JEFF The Brotherhood embody and exemplify. Brothers Jake and Jamin Orrall have been playing together since they were little kids and formed the group when they were in high school. The boys grew up with a voracious appetite for any music they could get their hands on.

The band incorporates a DIY ethos in everything they do, including their raucous live shows. JEFF have been touring tirelessly for the past 10 years, playing any and all conceivable venues—from basements and backyard sheds to Bonnaroo and The Bowery Ballroom. The duo clocked in over 400 shows in the past two years alone and have shared bills with Best Coast, Fucked Up, Pentagram, The Kills, The Greenhornes and more.

Their latest release, Hypnotic Nights, is an album that uniquely blends elements of indie, punk, garage, and psychedelic rock. The first single, “Sixpack,” is a fuzzed-out rocker driven by reverb-heavy riffs and propulsive drumbeats. Songs like “Leave Me Out” and “Dark Energy” venture into new musical territory for JEFF, but the band isn’t afraid of experimentation. In the end, Jake and Jamin just want to write great songs, play great shows and inspire fans to rock along with them. For JEFF The Brotherhood, blood is thicker than water—and music runs through the band’s veins.

Growing up in the mountains of Upper Styria, Austria, Philipp Szalay is a country kid that spent his youth skijumping & cross-country skiing. However, being too lazy to train hard enough to become a professional Sportsman and starting to excessively love the music of Oasis, he started to teach himself how to play guitar in 2006. What started as an attempt to become one of the cool kids quickly became an obession and in the same year he started to write his first original songs.

In 2008, Philipp was headed to Graz to apply to university and to start working on his music more seriously. What followed were years of performing and finding his voice, sound and place on stage, including support shows for profiled artists such as Helgi Jonsson, Scott Matthew, Ezra Furman & The Harpoons and Teenage Fanclub. In 2010 he self-published his Debut EP and started to work on his debut album in late 2011.

In 2013 now the game has changed. In the course of recording this album, it grew constantly and in the end it became something much larger than himself. With the help of amazing people he was able to define a new sound for his music and to record the songs the way they resounded in his head. Finishing this album marked the beginning of something new, so he felt that it was time to take a new line and a new name ...

Sleep Thieves is an Irish electronic music act from Dublin, Ireland. The band consists of Sorcha Brennan (Vocals, Keys), Keith Byrne (Guitar, Keys) and Wayne Fahy (Vocals, Keys and bass). The band are currently recording a follow up to their EP Islands released in 2012. A new single titled "Sparks" is due for release in September 2013 with the album due for release in the first quarter 2014.

Sleep Thieves play moody and hypnotic electronic music, described as 'disco-noir' by the Irish Times. They have built a loyal live following throughout Ireland for their vital and atmospheric performances.

Islands EP : "Stream of the week : .....think wave-y-gothic vocals (Austra/Fever Ray/The Golden Filter) floating in and out from the dark to the bright side and back!" – Deer De Bois, (Belgium), May 2012 "The songs are dipped in atmospherics .... a brooding synth and vocal refrain on ‘Out Of The Darkness’, a stepping out into the clearing of sorts that indicates the band’s new identity and mood.." – Niall Byrne, Nialler9.com, May 2012

You don’t just get there straight out of the blue; those haunting humming synthesizers at the beginning of “Paragraph Nights,” the melancholy piano chord changes, the emotional pull the song has on your psyche. It’s a process, you know? It comes from years of growth, experimentation, revision, looking at the scene from another angle, considering the possibilities. “Take a picture, make it last, make it different,” sings Dominic Angelella. And that’s very much the road DRGN KING has taken.

Our story opens with Angelella onstage at a North Philadelphia rock club, his hair flailing, his guitar strings rattling, his face beaming. It’s 2009 or thereabouts, and he’s performing with one of his old bands, a punky Americana group with such high energy, folks are hanging out after the show to shake his hand. A couple months later, a different venue, a different scene entirely – an eclectic hip-hop outfit, and there he is again, rocking out on guitar. Later still, Angelella’s face keeps showing up in band photos, on show flyers and venue websites. His enthusiasms run the gamut – experimental lo-fi psych, indie rock soul, arty grunge throwbacks. The question has to be asked - are you in every group in Philadelphia? He laughs, responds: No man, just a bunch of projects.

Meanwhile in South Philly, Brent “Ritz” Reynolds was holed up in a studio, making a name for himself as a young hip-hop producer. He cut tracks for The Roots, worked with Mac Miller and State Property alum Peedi Crakk. Reynolds knew his stuff and had the moxy for the hard haul of being a freelance recording guru. In early 2010 he and Angelella connected in a chance recording session, and the doors of possibility were blown open. Angelella’s songwriting would become a prototype for Reynolds to test out his lush, imaginative production skills into the rock world. Conversely, Reynolds’ studio alchemy would place Angelella’s broad-spanning tastes and musical interests under a single umbrella. You don’t have to be in a dozen different-sounding bands and call them a dozen different things. You can do it all, and call it DRGN KING.

DRGN KING debuted in a well-received warehouse show that fall. Angelella and Reynolds deemed the experiment a success, and kept it moving. Various musical collaborators were brought in, shows got played and new songs were written. Then they retreated into the studio, recorded, refined and recorded some more. Paragraph Nights comes after two years of nose-to-the-grindstone work, and its song are bursting with life, excitement, self-discovery, possibility. Listen to the pensive, introspective electronic pop of “Warriors.” It’s a nod to the community of artists and musicians in Philadelphia, and ruminates on crafting an identity through art: “People tell me I got no purpose,” Angelella sings. “They're not wrong but it's allright.”

Skip around and you’ll find a variety of tones and moods. The fierce industrial juggernaut “Barbarians” rushes at you with a surreal account of nightlife as a rite of passage, as well as a possibly damaging pursuit that just might fray one’s sanity. With haunting half-whispered, half-howled vocals and hammering drumbeats, DRGN KING pushes you to the edge, then carries you back. Earlier, the power pop riffage of “Holy Ghost” laughs and makes an anthemic march out of people projecting an identity onto Angelella – telling him he looks like the Christian Jesus.

With a massive beat and blissful refrain, “Altamont Sunrise” is a soaring number to carry you on your way – to other cities, to other countries, worlds apart from where we are today. A snapping snare drum and juggling bass line are your guides, while Angelella sings loudly and joyously with everyone in the room about taking the lessons learned and making something bigger and brighter on top of the ruins.

It's not a piece of music that DRGN KING could have written individually, or four years ago. Nor is Paragraph Nights a record that could have existed then. It’s an album about the journey, one that reflects as well as embraces it, channeling the trial-and-error process of music-making – and life in general – into something new.

“‘A hopeful utopian future’ is how one of our friends best described our sound,” Ian Bevis, frontman of Vancouver based electro-dance band Bear Mountain, explains. Born and raised in Vancouver, Bevis’ affinity for experimenting with sounds and beats on his MPC grew quickly. He left Vancouver for the University of Victoria where Bevis became friends with, then Entomology major, guitarist Kyle Statham and the two began collaborating on various styles of music.

A few years and a few bands later, Bear Mountain was officially born as the bedroom project of Bevis and Statham in 2011. With their name drawing reference from the Jack Kerouac classic “Dharma Bums”, the two set out to find an alternative sound that blended live instrumentation with a dancing heartbeat. Soon after the recording of their first bedroom demos, the duo felt their sound was lacking a strong backbone and enlisted the help of Bevis’ identical twin brother, drummer Greg Bevis. Bear Mountain’s tight live performances and eclectic blend of sounds caught the attention of, now band member, Kenji Rodriguez. Flipping the traditional role of “band member” on its head, Rodriguez serves as the band’s visual and creative director. Also a collaborator at Tangible Interaction, one of the world’s premier trailblazers in interactive visuals and lighting, Rodriguez manipulates projections and lights live right from the stage bringing a unique look and experience to every Bear Mountain performance.

“Two Step”, the opening to Bear Mountain’s debut album, “XO”, begins with a tropical samba-style drum loop layered with tight, live drums, lush synth sounds, and chopped vocal samples. Hooky synth lines and Bevis’ powerful and emotive vocals lay atop nostalgic house-drenched production on “Faded”, the midway point of the album. “XO” is a collection of unmistakably fresh songs that manage to capture the feeling of the infinite and the impossible all rolled into one. “XO” is available on May 21, 2013 worldwide through Last Gang Records.

Leave Jeb Brinkley to his own devices between the hours of midnight and five a.m. and something’s bound to happen. With a little whiskey and a guitar lying around, the Chapel Hillian— originally from Irmo, South Carolina — is prone to wax poetic on every shade of heartbreak. From Appalachian folk ballads to the Mississippi Delta Blues, Brinkley channels it all in concise, foot-stomping iterations of old-time sounds. Listen to Bevel Summers and you’ll hear what it’s like to be a twenty-something reared on Jim Croce and Roger Miller cassettes playing in the car on the way to school, and a mother's homemade rendition of The Beatles as a lullaby before bed.

Turrentine Jones are an English indie rock band formed in 2012 in Manchester, UK. The band consists of Julian Neville (guitar/vocals), Joe Chilstone-Vause (bass) and Rich Watts (drums/backing vocals). They have released one studio album:Our Days (2014) and one live album Live in York (2015) as well as two singles.

The band cites Booker T. & the MG's, The Mar-Keys and the Rolling Stones as influences.

The band has been labelled a “Future Classic” and described as “infectious blues-rock” by national radio station, Real Radio XS and proclaimed by Hattie Pearson of XFM to be “one of Manchester’s finest exports in recent times.”

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Leatherbag is an American power trio from Austin, Texas. After relocating to Austin from Houston in 2005 as a Hurricane Rita refugee,

Leatherbag was formed by singer/songwriter Randy Reynolds. Leatherbag has supported such acts as Robyn Hitchcock & the Venus 3, Chuck Prophet, David Dondero, The Radar Brothers, Little Joy, Brendan Benson, Richard Buckner, Alejandro Escovedo and many others.

The band performed at the 2009 Austin City Limits Music Festival and was an official artist at SXSW 2011. Influenced by the Protopunk movement of the mid 70s and the New Sincerity movement of the early 80s, Leatherbag delivers an energetic bolt to the sound of rock to come.