PHOENIX – Popular local PHX band Jane N’ The Jungle is expanding their repertoire to film soundtracks, covering Aloe Blacc’s “The Man” as the title track for the contentious local indie flick, SHE, that has been stirring debate here in the Valley. The song was selected by the film’s director and frequent JNTJ collaborator, Will Goldstein.
“The original song is sung by a man, with male-dominated lyrics. When we perform it, the song takes on an opposing point of view,” says Jordan White, the band’s front-woman.
At a time when sexism has been a featured topic during the #metoo movement, the irony of a woman performing such a male-centric song is intended to spark discussion about a male-dominated culture that undermines female power. The raw, stripped down performance by Jane N’ The Jungle, has a haunting grit that embodies the controversial film.
Los Angeles, CA —Today, FRND (a.k.a. Los Angeles-based musician Andrew Goldstein) is excited to share his new single, “Erase.” The upbeat, melodic track is his first new offering in nearly a year and is the first song from his upcoming EP, Before U I Didn’t Exist, out September 28th (via Crooked Paintings/BMG). Fans can stream and purchase “Erase” HERE.
According to Goldstein, “ ‘Erase’ is about someone coming into your life and wiping out lingering sadness from the past. When you realize the effect they have on you, you can’t help but fall for them.”
To fully experience the intriguingly glitchy pop of FRND, you need to understand his obsession with koala bears. As surrogates in his videos re-living his experiences, they are depicted sweetly, soulfully, even hallucinogenically. “The koala is almost like an alter ego who represents a version of myself,” explains Goldstein. “They might be chill on the outside, but there’s a lot of emotion. It embodies this journey I’m going through.”
Animated avatars notwithstanding, the musings on romantic woe woven through FRND’s intimate 2017 EP, In Your Dreams, proved all-too-human. Its first single, the levitating “Friend” (“My friend….We’ve come to an end”), first captured ears after appearing on Spotify’s New Music Friday playlist, subsequently hitting No. 1 on Hype Machine. Meanwhile, the ebbing-and-flowing sting of “Substitute” clocked a staggering 16-plus million streams. (Not surprisingly, Goldstein’s knack for capturing the human spirit by way of sticky hooks previously led him to pen songs for Demi Lovato, Britney Spears, and blackbear.)
“The mastermind behind some of today’s most exciting tracks” – NYLON
This has culminated in FRND’s much-anticipated follow up EP, Before U I Didn’t Exist. A collection of melodic, nuanced tracks, they sort through the disenchantment that permeated In Your Dreams. “You erase/ Erase all the hurt that I felt before,” he sings hopefully on Before U’s first single “Erase,” all percolating beats and sweet nothings. “You replace/ Replace it with something I can’t ignore.”
“I called my last project In Your Dreams, because I dreamt about some of these songs over and over again,” he says. “It was an awakening that I didn’t feel until I had those experiences.” Before U I Didn’t Exist attempts to exorcise those ghosts. The intoxicating title track (“Stay with me/ Hold on tight/ Fill my heart with pretty lies…”), for instance, is a relatable portrait of escapism. What it doesn’t deliver in closure, it does provide in a contact high through singsongy vocals and bright synthscapes.
“Always infectious” – Entertainment Weekly
FRND’s pop may not always be pretty, but his journey is an exhilaratingly authentic one—lust, laments, and all. “FRND is really this place you don’t think you’re capable of going until you actually get there,” he says. “You realize how much of life is driven by emotion versus thinking logistically.” In the end, there’s still hope for a happy ending. “Once you navigate through these emotions, you get to the next level. That’s what happened for me,” he adds.
Hell Average are a pop punk band from Perth, Western Australia.
Having recently won a local battle of the bands against other established Perth acts, Hell Average have used the prize money to record their new single “Cold Day In Hell”. The song will be available online Friday, June 1st.
The song is hard hitting and honest, influenced by bands such as Green Day and With Confidence.
Hell Average will be celebrating the release with a launch show at The Boston, Northbridge on Saturday, June 2nd.
Phoenix based, Indie Rock band Sleepwar has released the Official Music Video for their single, “Thousand Different Faces.” Originally premiered on Paste Magazine, “Thousand Different Faces” is the first single off of the band’s upcoming debut EP, When We Were, and is available for FREE download.
Hailing from the desert expanse of Phoenix, Arizona, indie rock band Sleepwar pushes indie rock to another level by combining new wave and synth-pop influence, with lyrics speaking to addiction, recovery, and the inherent struggles of modern life. Sleepwar is led by Roger Willis (vocals) with Tim Woodbridge (producer, keys), James Allen (bass), Mark Pfister (guitar), and Brendan McGuinness (drums).
Utilizing lush synthesizer soundscapes, Sleepwar produces a unique sound that is both familiar and completely original. Fans of the five-piece rock outfit have likened their music to that of Tame Impala, the Killers, Coldplay, Imagine Dragons, and Local Natives.
Sleepwar’s self-released initial EP, When We Were, due for an early 2018 release, was recorded, mixed, and produced by Cory Spotts (Job For A Cowboy, The Maine, Bless the Fall, Greeley Estates) at BLUElight Audio Media in Phoenix, AZ.
Sleepwar was formed in 2015 when seasoned musician Roger Willis (Something Left To Learn, Namesake, Goodbye Tomorrow) sought a new project focused on songwriting and collaborated with aspiring producer Tim Woodbridge, who had been composing with vocal placement in mind. Willis shared their rudimentary recordings to longtime friend James Allen, who immediately loved the new sound.
Allen joined Sleepwar as bassist and co-lyricist, where his former struggles with addiction and drug abuse became the foundation for early songs like “The Jaywalker.” Though Allen’s words drew from his personal demons, the lyrics would resonate with Willis and Woodbridge who had experienced both personal and familial alcohol and drug addiction. While the founding members of Willis, Woodbridge and Allen would remain constant, the band’s evolution from garage to indie rock new wave brought to the lineup several talented musicians, eventually finding balance with current drummer Brendan McGuinness and guitarist Mark Pfister.
Artist: Say Anything Album: I Don’t Think It Is Release Date: February 5, 2016
Like every Say Anything album, “I Don’t Think It Is” lays it’s cards on the table from the first note of the raucous intro “Give A Damn”, and sets the tone for a strong outing that is at once a return to form and a massive leap in sheer willingness to push their songs beyond any easily categorizable structure. Lyrically, the song showcases Max Bemis’ traditional vitriol toward both himself and his critics. However, the song structurally revolves around a much more lo-fi garage rock vibe than has ben shown in any previous Say Anything album. This burst of high energy post-punk stems directly from the influence of members from bands such as The Blood Brothers, At The Drive-In, and Mutemath; as they each provide their own unique take on the tried and true Say Anything formula. Since the release of “In Defense Of The Genre”, Say Anything as a band has evolved into a collective of sorts with Max Bemis at the helm. Whether through a slew of special guest features (“In Defense Of The Genre”) or a bold decision to release an album without any guitarist (“Hebrews”), Bemis’ creativity and unhinged passion always shine brightest when he surrounds himself with his peers and idols.
Perhaps the most impressive feat this album manages to pull off is a return to the bold sassiness, hilarity, and angst that characterized the early albums without coming across as an awkward old man trying to rekindle the sound of his youth. Above all, there is a refreshing burst of anger on this release that could only be created by an artist who simply does not give a damn what critics, fans, or anyone other than himself thinks about the songs he has crafted. Perhaps this mindset is what allowed for the much talked about collaboration with Kanye West wherein Bemis and West sat down and listened to one another’s at-the-time unreleased albums together and each other.
As with all things Say Anything, there really is no way to truly ever separate truth from facetiousness unless you were actually present for any of the events, but it is very difficult not to notice parallels between the two artists. “Goshua” in particular sounds like an indie B-Side of the “Yeezus” album, and is the moment the album became a masterpiece. “We’re divided by a wavering expression. And I drink too much to cut the tension. You think I live for attention? Man, look what I do for a pension.” is a verse that could have just as easily shown up during “Black Skinhead”, and shows a bravado noticeably missing from the previous two albums. Max Bemis is confronting his own creativity with every line and through doing so manages to save Say Anything by simply returning to what he does best, brutally and comedically self-deprecating his own shortcomings and successes. In short, Say Anything managed to succeed where “Life Of Pablo” fell short.
A surprise release full of bravado and grandeur that actually delivered on the self-congratulatory hype of it it’s creator.