After a long wait, BestNewBands.com faves Saint Motel have finally unleashed news that we've been anticipating for some time: details about the release of their debut album. Titled Voyeur, the record set to be released on July 10 and the band will follow that with a national tour. For those of you who can't get enough of this new about the Los Angeles-based indie rock outfit, have no fear. Here is a free download of "1997" the first single off the album and available only for a limited time. So get ready Saint Motel fans as the long wait is over and this promises to be an album that rocks your socks off. Here's the track listing along with tour dates:

Voyeur Tracklisting:

01. Feed Me Now

02. Benny Goodman

03. Puzzle Pieces

04. Daydream / Wetdream / Nightmare

05. 1997

06. Honest Feedback

07. At Least I Have Nothing

08. You Do It Well

09. Hands Up Robert

10. Stories

11. Balsa Wood Bones

Tour Dates:

07/12 San Francisco at Pop Scene

07/14 Los Angeles, CA at El Rey

07/17 Denver, CO at Larimer Lounge

07/19 Madison, WI at Univ. of Wisconsin

07/20 Minneapolis, MN at 7th St. Entry

07/21 Chicago, IL at Schuba's

07/22 Lansing, MI at Mac's Bar

07/23 Toronto, ON at Drake Hotel

07/25 Philadelphia, PA at Kung Fu Necktie

07/27 New York at the Mercury Lounge

07/28 Brooklyn, NY at Glasslands

07/29 Washington, DC at DC9

07/31 Atlanta, GA at The Masquerade

08/01 Nashville, TN at The High Watt

08/03 Houston, TX at Rudyard's

08/04 Austin, TX at Stubb's

08/06 El Paso, TX at Lowbrow Palace

08/07 Phoenix, AZ at Rhythm Room

08/10 Santa Ana, CA at The Observatory

08/11 San Diego, CA at The Casbah

Upon releasing his Sub Pop debut, Fear Fun, at the beginning of the month, Father John Misty has not only received praise for the record, but has also made his late night debut on The Late Show with David Letterman and Last Call with Carson Daly, performing songs “Everyman Needs A Companion” and “I’m Writing a Novel.”

The brainchild of Josh Tillman (former drummer of Seattle’s flannel folk gurus Fleet Foxes), Father John Misty has already announced a slew of North American shows accompanying Young Lagoon during July and yesterday announced a number of international performances stopping in Spain, Germany, UK and Australia among others.

The musician has been recording solo records since 2003 (under the moniker “J. Tillman”), but this is his first under Father John Misty. What’s so appealing about this project is its sincerity. The tracks seem dark and morose, and it’s because Tillman began gestating the album during what he describes as an “immobilizing period of depression,” in his former Seattle home. After hitting the road with nothing but a grip of mushrooms, Tillman drove down the coast with no destination in mind. During this journey, he began to write a novel, which developed the narrative voice he portrays in this release.

His voyage brought him to Laurel Canyon, where the songwriter currently resides. Once settled, Tillman sent his demos to LA producer Jonathan Wilson, and the two brought Fear Fun into fruition.  Get a feel for the album with videos for “This Is Sally Hatchet,” “Nancy From Now On,” and “Hollywood Forever Cemetery Sings,”, which features Aubrey Plaza of Parks & Recreation.

 

Tour Dates:

Jun 02--Barcelona, Spain-- Primavera Sound Festival

Jun 03-- Berlin, Germany-- Privatclub

Jun 04 -- Utrecht, Netherlands-- Ekko

Jun 06 -- London, United Kingdom-- Shacklewell Arms

Jun 07-- Antwerp, Belgium -- Trix

Jun 08 -- Paris, France-- Fleche D'Or

Jun 10-- Welbeck Abbey , United Kingdom -- No Direction Home Festival

Jul 05 -- Denver, CO -- Bluebird #

Jul 06 -- Omaha, NE-- Slowdown #

Jul 07-- Madison, WI --High Noon Saloon #

Jul 09 -- Cleveland, OH -- Grog Shop #

Jul 10 -- Buffalo, NY -- Town Ballroom #

Jul 11 -- Ottawa, Ontario -- Ottawa Bluesfest

Jul 12 -- Toronto, Ontario -- Opera House #

Jul 13 -- Pontiac, MI -- Crofoot #

Jul 15 -- Minneapolis, MN -- Varsity #

Jul 18 -- Missoula, MT -- Top Hat #

Jul 20 -- Seattle, WA-- Capitol Hill Block Party

07-21 -- Vancouver, British Columbia -- Venue #

07-22 -- Portland, OR -- Wonder Ballroom #

Jul 27 -- Melbourne, Australia-- Corner Hotel

Jul 28 -- Sydney, Australia-- Oxford Art Factory

Jul 29 -- Byron Bay, Australia-- Splendour in the Grass Festival

# w/ Youth Lagoon

Over the past few months, we’ve been writing a lot about Meiko, and deservedly so. Though her debut album was released in 2007, she’s still a relatively new artist being that this is only her second release. After reviewing her live show at SXSW and an Artist of the Week feature, her album The Bright Side is finally out everywhere and let’s get to business and show you what we thought about the record.

The opening track, “Stuck To You” is a folky number that opens with the sound of snapping fingers, always a plus. When we spoke to the Georgia-native a few months ago, she told us that the tone of the album was going to be upbeat since she’s at a better place in her love, mostly because she’s in love now. This song demonstrates exactly that. It’s an ode to her special someone where her lyrics are heartfelt and fits the upbeat music well. Not only is it a tender tune, it’s a great way to set the tone for the album. Also, being very poppy without losing the coffeehouse sound that made her first album likeable is an added bonus.

In fact, the poppiness she told us about back when we interviewed her is still the defining sound on the album. But what makes this album different than her debut is that she exudes confidence throughout. She’s in love and not afraid to say so (especially on the aptly titled “I’m In Love” and lead single “Leave The Lights On” is stellar as wel) and proves that a good pop song doesn’t have to show venom at a lover or have nonsensical lyrics. Meiko makes feeling good, well, feel good. She talks about being in love on most tracks and that can get a bit old and redundant, but hey, if the gal is in a good place, then more power to her.

Another factor to why this album flows so well is the understated production. On each track, Meiko takes chances by mixing up the songs with different sounds, like her experimentation with synths and yes, even a trace of dream-pop. By not affiliated with a major label, she’s able to make a more natural sounding album where the songs don’t feel forced or are catering to a certain demographic. That’s why the production here is solid and fits what the singer is trying to do. For this, we can thank her talented production team, which featured Belgian producer Styrofoam and Jimmy Messer amongst others.

While there are songs from across the board, the star of the show here is Meiko’s soothing vocals. They’re the lynchpin that holds the album together. Whether she dabbles in coffeehouse rock, ‘90s pop or dream-pop, the singer’s pipes are what makes this album distinctly her. Even when she’s pissed off, like on “I Wonder,” she makes it sound good and strikes an emotional chord with the listener It took the singer a long time to ready The Bright Side, but now that it’s out and ready for mass consumption, people should be excited to hear what this talented musician has in-store for the world.

I learned a new term this week – “cloud rap.” I hope you’re proud of me.

Anyway, I came across said term while doing some research on Lushlife, a Philadelphia-based producer and emcee whose hypnotic beats are often laced with an intoxicating burst of ambiance and fluffy psychedelic.   From that brief description of his work you can probably see how the “cloud rap” moniker might fit.

Clouds, like dreams, bring to mind a pastoral, uncomplicated concept that none us really understand (how many of you are meteorologists or neuroscientists?  Yeah, that’s what I thought) yet we all know rather innately through our own experience.  You know what a cloud is, you know what a dream is, and you know that both come with a certain pre-established literary/artistic significance.  It’s difficult to describe, something that floats halfway between science and aesthetic, yet that particular je-ne-sais-pas is so hard to miss that it could never sneak away.

Plateau Vision, Lushlife’s second full-length, comes hot off the heels of his No More Golden Days mixtape, which Lushlife released last fall.  If you liked No More Golden Days, you’ll get into this, too, most likely.  Same style, same guests, and even some of the same songs abound (sorry but, no, we don’t get the masterful Katy Perry “Teenage Dream” remix, again).

The album kicks off with “Magnolia,” a jazzy introduction to Lushlife’s overall style with a bouncy bassline and some glistening harp flutters.  Lushlife says something about Zola Jesus, Henry James, wallabies, Coney Island, and whatever.  He’s got a tendency to show off how many references he can throw into one track (ain’t that hip-hop?).  Sometimes it’s impressive – come on, you gotta admit that you never thought you’d see Zola Jesus and Wallabies in the same song – though sometimes it’s downright annoying.

Thankfully, Lushlife’s production is usually so spot-on with inventive flourishes and fly-by-night flickers of genius, that even when he gets overly verbose and hyper-referential the backing track is still strong enough to slay my miniscule attention span.   Just to circle back to the whole cloud rap thing, his strongest moments are those where he ignores topicality and lets the mood takeover with layer upon layer of foggy, blissed-out synths, samples and 80’s-tastic drum fills.

Imagine Washed Out, but a hip-hop version.  Sounds sweet right?

Plateau Vision features an expansive guest list (well expansive by indie standards…by hip-hop standards this is more like a happening than a party) with Styles P, Andrew Cedermark, Hemes and Cities Aviv rolling through the liner notes.  Each one adds a little something new, usually by way of guest verses and sung choruses.

Nonetheless the real star of the album is Lushlife’s pure understanding of atmosphere.  Inventive production tactics and hypnotic flourishes are this guy’s calling and he doesn’t disappoint.  This isn’t hip hop for nodding your head and rolling in the Benz – this is something best pulled out at your next black light and face paint party or whenever you decided it’s a good time to lie back and turn off your mind.

For more on Lushlife and Plateau Vision check out lushlifemedia.bandcamp.com

It’s been a long strange trip for Alexander Ebert. Before he formed the much buzzed about new band Edward Sharpe and the Magnetic Zeros, he was the frontman for Ima Robot. But after the band dissolved, nobody would have thought that Ebert would not only reemerge, but also come back with a band that was bigger and brought indie rock/folk into the mainstream. He’s done exactly that.

With the help of 11 of his closest friends, Ebert has made Edward Sharpe a household name. After the release of the outfit’s first album, Up From Below, in 2009, the band toured relentlessly, building a strong following in their home of Los Angeles before breaking through with their acclaimed single, “Home.” The song was everywhere, literally. You couldn’t walk into a department store or even watch TV without hearing it blaring through your screen (it was featured on a NFL commercial).

But after three years of living on the laurels of their debut (and a solo album from Ebert), the band is back with not just one, but two new albums slated for release in 2012. In order to escape the hustle and bustle of L.A., the band decided to head up to Ojai to write and record their new albums. The first of the two, Here, will be released on May 29 and the nine-song record has the familiar brand of indie-folk that is synonymous with the band. However, what makes this effort different is the evolution of the band’s sound. But why two records as opposed to one long one?

“There were a lot of factors that went into it,” Ebert explains. “One was a timing issue. There were some songs that have affinities with others and two albums was sort of becoming apparent. In some ways it was an idea to break them up and put them together later on down the road as a double album or to let people digest them in small bits.”

Easy enough. Some of the songs that were used on the album were culled from the singer’s solo album, which he thought would sound better as full-band version. And he’s right. The band sounds fuller and tighter than their earlier effort, showing their maturity and comfort with each other as musicians, which isn’t easy for a band as big as they are.

Photo: Randal Michelson

As the band is in the midst of a month-long tour to introduce the album, which we caught at the Greek Theatre last week, they demonstrated that they’re more than capable of handling the expectations that come with a sophomore effort. However, Edward Sharpe and the Magnetic Zeros are more than capable of handling the scrutiny and challenges that come with raised expectations. That doesn’t phase them though as the band will continue to go about their business and churn out catchy songs that may not be as epic as “Home,” but nonetheless, will be appreciated in their own right.

For now, the second album is slated to be released in October or November, but until then, enjoy Edward Sharpe and the Magnetic Zeros for what they are: the pioneering alt folk group that helped bring indie rock to the mainstream.

With an ode to Gatsby-era debauchery and smoke-filled jazz joints, Leftover Cuties will steal your heart and thrill your soul. In between albums, the band decided to release an EP of covers to serve as an appetizer while they finish recording their sophomore effort. With Departures, the band picked six eclectic songs and put their own twist on them. Though they’re known for “Game Called Life,” the theme song from the Big C, the Shirli McAllen-led outfit is ready to show the world that the Cuties are here to stay. On the eve of the EP’s release, we had a chance to chat with McAllen, and here’s what happened.

What's more fun: playing house parties or venues?

Without a doubt: venues. I think that any artist who writes their own music would take a listening room over playing background music at a house party. My favorites are medium sized theaters. We recently played at the Warfield in San Francisco and at the El Rey in L.A., and we loved every minute of it. The audiences were so engaged and warm and it's so nice, especially as the front person, to know that people are there to listen and appreciate music.

Of the zillions of songs written in the world, how did you decide to cover these few that encompass the Departures EP?

"You are my Sunshine" and "Poker Face" have been a part of our live shows for a while and came to be some of the crowds' favorites. So those two were no-brainers when it came to picking the songs. "Fidelity" by Regina Spektor was actually suggested and voted on by our Facebook fans. When it came to picking the last few songs, it was much harder then we thought. We went through hundreds of songs looking for a one we knew we can make our own. Bob Dylan has been a huge inspiration in my life and I always wanted to sing one of his songs, so we decided to give "Don’t Think Twice, It's All Right" a shot, and it stuck. Coldplay's "Trouble" came up on my iPod one day when I was driving and I thought it would be an interesting choice. We couldn't be happier with the result, we are really proud of it.

How are songs by Bob Dylan and Lady Gaga transformed into Leftover Cuties songs? Is there a common link or was it completely random?

This EP is very eclectic. It's sort of strange to see Dylan's name next to Gaga's, I know, but the one thing linking all these songs is the way they we've transformed them. Our sound and approach is what make them all work together.

Is the EP going to serve as an appetizer to a future full-length that's in the process?

Yes, we are working on our second full length that we are planning to release in the Fall. We've been writing a lot and we just can't wait to get in the studio and lay the new songs down.

Are there plans for any gigs?

We are celebrating the EP release at Hotel Café on 5/16. Next, we are headed to San Diego's Soda Bar and there are a few more dates in the works.

What's more badass: playing the Hotel Cafe or at the Cosmopolitan in Vegas?

These are night and day, but they are both badass for different reasons. We just got back from Vegas and the Cosmopolitan was so fun! We played three nights in a row and we had a blast. It's cool because Vegas is the city of huge productions and it's nice to win a crowd with simply your music. We definitely gained some new fans out there. Hotel Café is a great listening room. It’s intimate and it's a great place for your fans to come see you and really hear you.

 

Which bandmember has the worst driving skills? What happened that led you to decipher this?

That would probably be me. I get nervous when I have people in the car with me and my driving skills go down the drain. Luckily, the guys always drive, so it's a non-issue. Out of the guys, Austin, our ukulele/bass player likes to take the most chances; he's sort of a wild card.

Who wins in a fight: Borat or The Dictator?

I have no idea. But I love Borat.

What do you hope fans get from this EP?

I hope they get a kick out of some songs and I hope they are moved by others. The song selection on the EP is not really a representation of the band's roots; rather the interpretation of the songs is more representative of where we come from and what we like. We hope our fans enjoy that.

Of all the places you have yet to play, what place is number one on your list and why?

Venue-wise, I would absolutely love to play at the Orpheum in LA, simply because its a beautiful old theater and I've seen great shows there. City-wise, we are all dreaming of Barcelona. It's such a beautiful city, and we'd get to eat tapas every day and play for Spanish fans.

This year has begun with a major change for the Los Angeles-based, Rancho Cucamonga-bred alt-hip-hop/funk/soul collective Tha Boogie—it lost a member. Where this could be detrimental for most three-pieces, Tuko and James Jet used the downgrade to their advantage, thinking of it as a new journey and opportunity to show the world their full potential.

So Tha Boogie started anew and created a follow-up to its 2009 debut EP, Love The Boogie (Steal This Sh*t), which the two-piece entitled, Good Luck Charlie Vettuno. The title is a tribute to Vettuno Street, where the two musicians met during their childhood. And instead of releasing the EP on Raphael Saadiq’s Velma Records, like the debut, Tuko and Jet decided to release it themselves.

With this do-it-yourself approach comes with pros and cons. Where the debut is full bodied and experimental, the duo seems to take a more straightforward approach with GLCV, creating minimalist production/instrumentation and an emphasis on vocals. Tuko and Jet both have a nice set of pipes on them (as does Ani Lennox, who lends her voice on the tack, “Protocol,”) but the release is lacking that magnetizing pizzazz of their debut, which has attracted fans across the globe.

Tuko and Jet also add a bit too much filler to this release. Although the EP comprises eight tracks, three of them are interludes, resulting in a playtime that stops short of eighteen minutes.  There are some gems on this record, namely the dance-inducing, synth laden “Protocol” that features the aforementioned Lennox; the fast-paced, aggressive “SoL,” where Tuko flexes his rapping muscles, and the slow, beautifully heart wrenching closing track, “Happy Ending.” But it would have been nice to see an album full of solid tunes like these.

With monumental changes come transition periods, and it seems like this is the phase Tha Boogie is in currently. Tuko and Jet are both extremely talented musicians lyrically, vocally and instrumentally, as well as being talented producers. They just need to regain footing as a two-piece and focus on each member’s strengths. It’s good to work out the kinks on an EP before delving into a full-length, which the duo has mentioned is its next project.

Both musicians agree that music is self-expression, and thus they believe in crumbling the confining walls of “genres.” Though this release is not too shocking or revolutionary, Tuko and Jet both have the mindset to change music, and I think if they work hard enough, they will be able to break out of a niche. They’re just not quite there yet.

Nova Scotia’s Wintersleep have announced their Spring tour dates, as well as released their new single, “Nothing is Anything (Without You),” which could very well be the soundtrack to your summer fling. It might not be an everlasting classic, but it’ll be stuck in your head for a memorable period of time. This track is off their upcoming record, Hello Hum, due out June 12th via Roll Call Records/ILG. They also have this other jam, “Resucitate,” that’s worth having a listen to:

Wintersleep Tour Dates

For the past half-decade, Silversun Pickups have brought their brand of fuzzed out, droned guitar rock to the masses. The quartet has been one of the best new bands to come from the indie hotbed of Silver Lake in Los Angeles. They’ve garnered legions of fans across the globe with by doing what they do best: writing catchy tunes while remaining true to their core sound.

For those of you who don’t know, the band has sold over 1 million records worldwide. Their first EP, Pikul, was released in 2005. While it hinted at great things to come, no one was quite prepared for the explosion of the band’s debut LP, Carnavas. Released in 2006, the record peaked at #81 on the Billboard Top 200 and was the #1 Alternative and Independent record for four consecutive weeks. Their big single from that record, “Lazy Eye,” peaked at #4 on the Modern Rock charts. In 2009, the band followed up with their breakthrough album, Swoon. That record debuted at #7 on the Billboard Top 200 and was in that chart for over 22 weeks on the strength of “Panic Switch,” which was on #1 on the Modern Rock charts,

Their latest album, Neck of the Woods, is a step forward for the band. After working with producer Dave Cooley on their first two albums, the band took the short trip from their home of Silver Lake to Topanga Canyon to work with Jacknife Lee, whose credits include U2, Weezer and R.E.M. on their new album. On their earlier albums where they’d spend months preparing by writing and working on pre-production for the songs they were going to record, this time around things were a bit different.

“Usually, we as the band would work on the songs for six months or so on our own,” bassist/backing vocalist Nikki Monninger says. “Jacknife’s way of doing things is not to have pre-pro and just to dive right in. Everything felt more spontaneous. We would move forward with things in a certain way and he would introduce new ideas or subtle changes.”

Changes helped the group, but that didn’t necessarily things weren’t a bit tough on the band.

“Working spontaneously was definitely a new thing since I’m the type of person that likes to take things home, take notes and study what we’ve done,” Monninger explains. “And Jacknife literally threw my notes on the ground on the first or second day and said let’s try it more from instinct. And I liked that change.”

Working with L.A.’s Dangerbird Records has provided a refuge for the band. Rather than worrying about the band cranking hits from their first EP, the label was more concerned with the band’s longevity and ability to build a career, which is what makes their relationship a fluid and fruitful one.

The biggest difference between the band’s new album versus their earlier material is the introduction of a degree of electronica. Have no fear, the drone guitars that defined them are still prevalent, but the Silversun Pickups have added another element to their already catchy sound that will not only introduce them to a new audience, but demonstrates their fearlessness and ability to take chances when other bands in their positions would have been complacent and unwilling to evolve.

On their first album in three years, the Silversun Pickups prove why they’re considered one of the pioneering bands in the ever-growing L.A. indie alt rock scene. With a slew of tour dates to be announced, though Monninger says the band will be on the road for an extensive, headlining tour in the States and Canada beginning in September, fans should be excited on what the future holds for this exciting band.

 

The EP has heavy effects on the majority of the vocals and some incredibly catchy drum beats, thanks to two drummers, an immediate comparison to Yeasayer came to mind.The opening track,“Hold on to the Metal”, has everything you need to get you dancing and bobbing along, maybe even throwing in an occasional clap here or there. Further into the EP a hint of Miike Snow that came through although the band made  it their own.

With fun vocals and ever changing samples weaving throughout the songs, I don’t think it will take this band much longer to sweep through the US and gather up fans left and right. Based on their live show, it’s easy to see why they got so many positive reviews for their SXSW appearances. They have such so much energy it’s contagious and within minutes everyone’s into it. They gave a great show.

They are currently touring through the rest of the month if you are lucky enough to have them come through your city check them out as well as their Extended Play- EP.

Here the band’s upcoming tour dates: