Apple’s Free 90-Day Logic Pro X Trial: Download Now

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Apple has announced 90-day free trials on its popular music editing program Logic Pro X. This is not fake news.

The 90-day free trial is a godsend to many cooped-up musicians who have been sidelined by the Coronavirus shutdown. That’s one reason there may suddenly be a bunch of new bedroom artists with some hot to shit to play for us all in the coming months. Apple’s offer is another.

After the trial ends, the software costs $200 for Logic Pro X and $300 for Final Cut Pro X.

TIP: Get your trial now because Apple has not said when the offer itself will end.

Download Logic Pro X 10.4.8 Free (Via Apple)

In addition to Logic Pro X, the company is also offering 90-day free trials on Final Cut Pro X, the popular video editing program of choice by bands, videographers, and production companies. People who already downloaded the FCPX 30-day free trial will automatically get a 60-day extension.

Download Final Cut Pro X (Via Apple)

Avid, the maker of Pro Tools, is currently issuing a limited number of free 90-day licenses.

In other Coronavirus-related music news, Fender is granting 100,000 people three months of free guitar lessons via the Fender Play app. The announcement comes only days after Adobe made Photoshop and InDesign free for all students.

Additionally, many cell and Internet providers are also giving students free Internet access (they should have it anyways – it’s an investment) for the remainder of the school year.

Grab our feed to stay up-to-date on the latest Coronavirus-music related news and the latest music.

The Facts About COVID-19 (‘CoronaVirus’) Straight Up

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The Facts regarding the Coronavirus, COVID-19, are so essential right now we had to put out this post. There is so much misinformation swirling around, especially on social media, regarding COVID-19, aka ‘CoronaVirus’. This list of facts, which we will keep updated, is all you really need.

Please, please share this important information with everyone you know.

– COVID-19, aka ‘Coronavirus’ is not a hoax. Today, March 11th, the World Health Organization officially declares the Coronavirus a pandemic of “alarming levels of spread.”

– Rumors are our enemies. Facts and verified, official information are our friends.

– Panic is no way to respond to any crisis. Be reasonable. Listen only to experts in health. Not idiotic social media posts.

– There is no vaccine for COVID-19. There are no reliable treatments.

– The elderly and people with illnesses including auto-immune, heart disease, cancer and diabetes are the most likely to die from exposure to COVID-19.

– Stay away from elderly and ill people if you feel sick. For total safety, stay away from anyone if you feel sick until you know if you are sick with COVID-19 or something else.

– If people are not tested, they may not know they are carrying it and giving it to others.

– People who feel sick, even if they don’t think they have COVID-19, should self-quarantine until they can (if they can) get tested.

– Wash your hands continuously under hot water for 20 seconds and wash vigorously as well as under finger nails and in between all fingers.

– Do not touch an unsanitized surface (esp at a sink used by others) near the sink after washing.

– Do not open public doors with handles without a tissue or glove; if you do, wash your hands right afterwards without touching yourself or your face.

– Avoid touching your face. The virus is spread by exposure to membranes – that includes your eyes, nose, and mouth.

– How long the virus lives on hard surfaces is still unknown. For the best prevention, assume it is more than six hours. Some experts believe eight hours.

– Avoid touching areas that others touch, especially in public places.

– Avoid crowds until widespread testing is available and the peak of the viral spread has passed, which could be a couple or more months. Much is still unknown – that’s why facts from official sources are paramount at this time.

– By now, most people should be instituting their own ‘social distancing’ until more is known about the virus and testing is widely available. This one act can greatly reduce the spread of the virus. Staying three to six feet away from others, most especially from anyone coughing or sneezing.

– It is possible for the virus, while suspended in droplets in the air (such as when someone is coughing or sneezing), to DIRECTLY transmit to your face, often without you knowing or feeling it because the droplets are so fine, nearly invisible.

– If you feel sick, and you are young and healthy, do not go to the hospital. Hospitals will soon be at or over capacity. The chances that a healthy person under the age of 60 with no underlying conditions will get seriously sick, or even die, from COVID-19 is very low.

All of the data is showing young people, especially children, get mildly ill and recover quickly. However, children and young adults can still be healthy carriers and transmitters of COVID-19 with NO signs of any illness, not even sniffles.

On March 11, we are starting to ramp up the number of cases, and reported deaths. This acceleration will continue, and if China is any model, should hit a peak rate in roughly two months.

Album Review: Robot Raven’s Rocking New Compilation Release

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With years of musical experience, two veteran songwriters/musicians, John Rigg and Edmond Bruneau, aka Robot Raven, have just dropped a compilation of some of their most popular tracks from albums released over the years. The compilation is simply called Rockers.

Straddling the lines between classic rock elements, rockabilly, lo-fi, and newer rock styles, Rockers is a collection of 18 tracks from the band’s releases over a string of many years.

The collection, available via Souncloud, kicks of with the theatrical rock vibe of “Password” followed by the noodling single, “Turn Me On.” The latter track sports a mid 70s glam rock sheen that is also a bit ironic at the same time. The intensity of the vocal deliveries is not to be overlooked.

“Crank It Out” feels like the 70s post-punk underground movement where the punk elements had not yet transitioned into keyboards and soaring guitars. Rather, here we have angst and badass rock attitude on a track that reminds this listener of the Kinks’ and Ray Davies-like growls.

There is a spaghetti-western rolling, rocking, and ball-grabbing, “A Girl Like You,” complete with slide guitars and vintage guitar riffs, not to mention the ever-present scruffy vocals.

“John wanted to do a swinging/surfin’ number that would be an upbeat version of early guitar instrumentals he used to learn from The Ventures or The Pyramids,” Bruneau says.

“He sent me a demo singing scat where the lyrics would fit, but he originally used ‘a girl like you’ in the refrain and I liked it. So, I just filled in the rest of the blanks. He told me back then it was easier to do a key change than write a Mid-8 break.”

The Elvis-inspired “Earworms” reminds us a lot of “Viva Las Vegas,” with its hurried vocals and hip-swinging rhythms, backed by horns and a riveting, ringing guitar solo. There is also a Jerry Lee Lewis feel to the track, which is an interesting accomplishment: that is, to miss those slightly different styles into one track.

One of the collections’ big tracks is the semi-viral “Me 2” which is not surprisingly an ode to the MeToo movement that sprang up a few years back and which is relevant again today with the conviction this past week of Harvey Weinstein.

Rigg and Bruneau take on a sensitive subject as middle-aged guys growing up in America who have seen their share, we’re sure, of abuse and mistreatment at the hands of a male-dominated society. It also proves the fact that the majority of men are *not* pigs. The lyrics are in fact profound and deep.

“Survivors of sexual assault and harassment have for too long been in the shadows,” Bruenau writes. The song and movement “gives victims a way to speak up and seek accountability. The movement has grown to include both women and men of all races and ages,” he adds.

Another standout song is the relationship storytelling of “The Little Things” – that we all are guilty of taking advantage of at times until something profound happens to realize that the ‘little things’ are what matter most. The song has an arching melody and rattling guitars.

As songwriters and musicians, the duo has a tongue-in-cheek allure, without being irreverent; their music is multi-facted (while sticking to a decidedly classic rock vein), powerful, and clever. It’s not hard to imagine having a good time at one of their shows.

Fans of avante-garde, quirky, off-beat tracks and bands will likely dig the frenetic and unusual mix of styles on “DNA,” with its down-on-the-corner chugging vibes and the repetition of the line: “DNA/Stay away from my DNA.”

It’s enjoyable as are many of the tracks on this compilation. Robot Raven has definitely made their contributions to off-beat indie/classic rock music with this collection of tracks from their previous four album releases.

The compilation ends with the compelling “Children of the Universe.” The song has a brimming nostalgia to it. “It came from a simple thought: what if we could remember how we all lived our lives together before we were born?” Bruneau remarks. ” And just maybe, instead of creating terror, war and violence, we could use our energy for peace, understanding, and goodwill. We all once were stardust. Definitely the hippy song on the album.”

Rigg has four releases to his credit, including early work with the stadium rock group Abiqua and solo drops. He is also a world-renown robot builder and inventor and owns what may be the world’s largest and most complete museum dedicated to toy and replica robots, the Robot Hut Museum, located in Northeastern Washington state.

Bruneau gained attention in the early 1970’s as the drummer of the infamous Seattle garage band, SKy Dog Band and has written numerous commercial jingles with Bruce Innes. He is a poet.

Rigg/Bruneau have written over sixty original songs together and are considered some of the most proficient song gurus around. Their penchant for the “classic rock sound” shapes Robot Raven’s unique and interesting arrangements, although the group never fears to divert to other musical genres occasionally for the sheer fun of it.

www.robotraven.com

Singer/Songwriter Spotlight: Swedish Musician Jonas Carping

jonas-carpingThe debut album, All The Time In The World, by the Swedish musician Jonas Carping, garnered some critical acclaim a few years back in the underground music world followed by his second album, Cocktails & Gasoline.

Carping in the process of releasing a new album to be titled Into the Ocean, a seven-track album which Carping says was recorded over a three to four-year period.

“The recording is a live session, something I always been wanting to do,” he says. “It’s just me, the acoustic guitar and my pedalboard. It’s bare naked; honest and raw.”

Anguished vocals and buzzing guitars set the mood on Carping’s booming track, “The Last Approval,” which has a strong, almost throbbing, melodic vibe, that cannot possibly overshadow Carping’s prominent vocals. The chorus is a nice touch as well.

A bluesy/folksy atmosphere and ambling instrumentation mark the track, “Damn Old World,” featuring stark and painful vocals that altogether make for a beautifully tragic song.

“Peace of Mind” is introspective and powerful track despite its mellow singer/songwriter vibe and folk-inspired lyrics. The power, as with many of his songs, comes from Carping’s pained and mournful vocals.

The acoustic and folksy song, “You Move in a Different Way,” sounds much like an Irish/Scottish folk song. That is not surprising since, like many indie/DIY singer/songwriters, Carping pulls from many influences and styles.

If you’re in a gloomy mood on a dark, rainy day, and you want to lean into it, that may be the best time to listen to Carping’s songs. Melancholic music has its time and place, but it is not often accomplished at the skill level that Carping employs.

His style and sound are moody, contemplative, melancholic and generally dark. Other tracks are more aggressive and theatrical, such as “Sleepless Night Blues” and the similar-sounding, “Fragrance of the Past.”

On track after track, Carping displays the songwriting, vocal, and musical talents that have attracted support on his Bandcamp page and elsewhere. It’s also notable that these songs were recorded in a cabin in the Swedish wilderness.

“The aim was to preserve the essence in music-making when there are no distractions,” Carping writes.

“And to capture the vibe of the wilderness. But also to do so with the very best studio equipment. We came back with eleven new songs.”

Last summer he dropped a three-track single for a chilling cover of “Killer” with ringing guitars, smashing drums and Carping’s ominous and perfectly-matched vocals. The single is a cover of the original 1989 single from Seal and Adamski.

Other musicians contributing to the recording include: Martin Karlsson – Bass, Percussion, Guitar; Johan Norlund – Drums; Micke Petersson – Guitar; Sigrid “Snäckan” Nilsson – Vocals; Marika Dahlbäck – Cello, and produced by Amir Aly and Martin Karlsson and mastered by Björn Engelmann

facebook.com/JonasCarpingOfficial

U.K.’s Black Midi Drop First Single Since ‘ded sheeran’

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London indie band Black Midi has followed up a successful debut album, Schlagenheim, with the new rhythmic single, ‘Sweater.’

After a minimalistic instrumental intro, “Sweater” bursts into a full-throttle chugger with turbulent, ringing guitars and chugging percussions.

Black Midi creates amazing post-punk arcade-fueled experimental music that sounds nostalgic and yet feels refreshingly new, with a vocalist, frontman Geordie Greep, that stands out like few other frontmen.

The other band members of the quartet are award-winning drummer Morgan Simpson, guitarist Cameron Picton, and bassist Matt Kwasniewski-Kelvin.

A few years back, the band built a reputation for their dynamic, collaborative energy and uncompromising live shows from the start and blew attendees away at last year’s SXSW festival.

Not long ago, the band released an Ed Sheeran diss track titled “ded sheeran,” a bizarre song that trolls singer/songwriter superstar Ed Sheeran.

The track dropped on the band’s Soundcloud but was quickly removed. But a it found its way on to YouTube.

Lyrics include: Ed Sheeran sucks/ you sellout ginger prick/ your music is doodoo/ believe me man/ we don’t need you.

R.I.P.: Andy Gill, Gang of Four Guitarist (1956-2020)

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Britain’s late 70s provincial punk scenes were seldom places for the faint-hearted, but few were as starkly polarised as that in Leeds. At one extreme, the city had a large National Front presence: Leeds has the dubious distinction of the giving the world its first openly Nazi punk bands, the Dentists and the Ventz.

At the other, there were the bands spawned by the city’s university and the radical leftwing theory popular in its fine art department: the Mekons, Delta 5 and Gang of Four. The result was frequently chaos, “terrible violence”, as Gang of Four guitarist Andy Gill put it. There were pitched battles on the university campus and at the F Club, the city’s main punk venue.

It’s tempting to say you could hear the tension in the way Gill played guitar. His biggest inspiration was Dr Feelgood’s Wilko Johnson, but he took Johnson’s taut, jagged, aggressive rhythm guitar style and ran with it: there was a sharp funk influence too, but as the writer Simon Reynolds noted, the way Gill played guitar could make you flinch.

There was something austere about it. Gill refused to use distortion or play solos, unless you counted what he did on the extraordinary Love Like Anthrax from Gang Of Four’s debut EP Damaged Goods, where he unleashed a howling, scourging torrent of feedback that opened the song then seemed to crash in and out of it completely at random.

Source: UK Guardian

Artist Spotlight: Tyrone Sanborn Webster

Austin based musician and songwriter Tyrone Sanborn Webster took some time over the past year from behind the drum kit to write and record his own songs.

Harnessing his creative background in writing and performing with the Austin art-rock band Desilu, Webster says he has “decided to take a minimalist approach” to his own music.

Armed with an acoustic guitar and his vocals, Webster took his life experience and influences and crafted and molded them into a universal sound with a message to others: “pick up your guitar and simply write from the soul.”

He recently dropped a three-track E.P., Surface, featuring emotive songs with high vocal registers on tracks like the tumbling, “Change Your Mind” and the booming, melancholic, “Out in the World.”

Another track that would have been cool on the E.P. is his latest song, “Jesus Skin.”

Recording from home, Webster captures simple melodies and rhythms blended with captivating acoustic progressions, embodying a haunting sound that resonates through his bass notes, keys and strings.

instagram.com/tyrone_sanborn/



Album Review: Norwood’s ‘Lizzy White Doesn’t Give a Fu*k’

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The New York DIY band Norwood‘s new album, the exciting Lizzy White Doesn’t Give a Fu*k, parties hard with fast-moving, down-home romps contrasted by sad and somber songs.

A commanding violin, played with the spirit of a country fiddle by Ben Sutin, launches the album right into the ferocious title track.

One of the obvious observations right off the bat is the similarity of guitarist Chris Sayre‘s vocals to those of vocalist John Flansburgh of They Might Be Giants. But Norwood has a decidedly different sound with a strong Americana and alt. country flair that may also conjure up bands like Mountain Goats.

Sutin’s violin playing, together with a chugging percussion and ferocious guitars, leads the way for the upbeat opening track. Right out of the gate, the title track opener demands the attention of the listener.

The next track, the depressing, “Dog of Aokigahara,” seems out of place following the roaring opening. That’s mainly because Aokigahara conjures up disturbing images (it is a notorious Japanese forest known as a destination for suicides).

That said, Sayre, Sutin, and Hannah Fairchild, along with drummer Max Maples and bassist Keith Michael Pinault, display their talents individually and as a band, offering curious listeners an original and sincere sound steeped in an earthy, country vibe.
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As a contrast to the fast-moving, violin, percussion, and guitar-driven tracks, the album offers mellow, quiet moments like “Babyboy”, featuring lyrics such as ‘don’t tell me what to do Steve’.

The gloom, if you will, (or so it seems) continues with “Taking On Water.” Then something spectacular happens: the track transforms as it evolves into a sunnier vibe lead by Sutin’s sweet violin solo and the chunky chords of Sayre’s guitar. Fairchild’s backup vocals are fitting with the male vocals as the song evolves into a full-on, rambunctious chorus.

“Rebuttal in #F” is clearly one of the standout songs on Lizzy; it is upbeat, energetic, and even a bit quirky. The chorus belts out: “I will hate myself as hard as I can for you,” accompanied by hand-clapping and the fast-moving instrumentation that is a hallmark of Norwood’s sound.

Next, “Against The Grain,” takes a leap of faith – and a good one at that – into a whole other vibe with the addition of a superb horn section. In fact, the horns are so enthralling that one wishes they were deployed on more tracks.

On “Rock,” the band as a unit re-establishes their trademark – and at times addictive – ferocious sound. But unlike any other track on the album, it is perhaps most memorable for its odd, even psychedelic-like, whispering. (At first, this reviewer – working alone in an otherwise quiet room – thought for a split second that someone was in the room whispering at him.)

The pace slows down again on “Bridge to Home,” a country-rock ballad of sorts featuring hellish lyrics such as: “Every day seems a shallow rotten path/Plagued by bitterness and worry/By sinew, flesh, and bone.”

Interestingly, the character of ‘Babyboy’ is mentioned again on this track too but it’s difficult to discern exactly is going on. The more one listens to Norwood’s songs, the harder it is not to imagine Mountain Goats as an influence on the band’s sound.

“Hey Nana” is another song on the album that doesn’t necessarily sound the majority of the other 10 tracks. “Hey Nana” possesses a poppy beat together with thrusts of hard-hitting instrumentations swirling around Sayre’s regularly strange and poetic songs.

The album closes with the appropriately-placed song, “Last Words” – perhaps the most sentimental songs on an oft-sentimental album.

“Last Words” is simply a sad song lead by Sayre’s reflective vocals, cast in a different register, and Sutin’s weepy violin.

We do not know who Lizzy is, or what she doesn’t give a fuck about, and never could really figure it out. So, who gives a fu*k? She doesn’t (it’s in the album title). But somehow, in the end, she got me to.

Leo Manzari’s New Clip Teases 2020 Album Release

After a series of singles throughout 2019 that gained more and more attention and love from bloggers, fans and playlisters, Brooklyn hip-hop artist, professional tap dancer and actor Leo Manzari is set to release what promises to be an epic album.

To help promote the announcement of the 2020 release, Manzari wrote, filmed and starred in a new video short tease called “Tattle Tale,” which will not appear on the album.

“‘Tattle Tale’ is a purging track,” Manzari says. “It’s a track that calls out those slacking on their responsibilities to be truthful and straight forward. It uses his creative and imaginative lyrics to playfully jump around the metronome, throwing all kinds of triplets, 16th notes, and 32nd notes.”

The song is filled with lyrical acrobats mixed with a hard, bass-heavy beat produced by fellow New York artist, VISIONNAIRE.

“There’s nothing cleaner than well-articulated lyrics, and precise word placement to make a good song even better,” Manzari says.

The song’s music video demonstrates the songwriter’s unique ability to direct pure emotion through every limb of his body. This double-time visual footage of Manzari’s performance entices the viewer to be hypnotized by every word, and really lock onto what every word means to the songwriter.

Some folks think that we should only feature “indie” music. Well, what is that? DIY hip-hop is also indie, by definition. Plus, we have no issue with broadening our listener base with some dope sounds from other genres – that, again, are still DIY/indie.

This guy is going to be big. In addition to a string of new singles, Manzari also appeared in Hozier’s new popular music video “Sweet (Almost Music)” and was the first tap dancer to perform with the Philly Pops Orchestra.

Leo Manzari’s Official Website

2019 Alternative Christmas Songs Playlist – Late Greats, Arcade Fire, Dr. Dog, Guster, The Hives

To the rescue: 2019’s Best Indie & Alt. Rock Xmas Songs playlist.

By now, some of you might be trumped-out on traditional holiday songs – in the mall; at work; at parties; at home; at others’ homes; grocery store; on the car radio, etc.

Where can you get away?

It’s not that you don’t like holiday and cheery seasonal music – it’s just that you can’t take hearing the same old standards again and again. Even the traditional songs you love performed by someone else entirely could work, right? Well fire up this baby with a log in the fireplace, some Christmas tree, or whatever. Headphones recommended.

We’ve been making indie and alt. rock Christmas songs playlists for a decade now, creating the web’s largest and longest-running such collection, bringing hundreds of thousands of visits from across North America, Europe and around the world. Even if you don’t like Christmas (you don’t have to be religious or of one religion – music and goodwill is for all people – hell, we need so much of it right now).

(This playlist is intentionally not to meant to be a rehash of all of our top Indie Christmas Songs playlists.

“Sleigh Bells“ – The Late Greats

“Jinglebell Rock“ – Arcade Fire

“Christmas Tree” – The Bewitched Hands

“Winter Wonderland” – John Blaze

“First Noel“ – My American Heart

“All The Best Wooden Toys Come From Germany“ – Broken Social Scene

“Its Christmas Time“ – Yo La Tengo

“Take Back The Toys“ – The Hives

“Father Christmas“ – The Kinks

“Dasher Prancer Donner & Blitzen“ – Mice Parade

“Color in Your Cheeks“ – The Mountain Goats

“O Come All Ye Faithful” – Bad Religion

“Donna and Blitzen“–Badly Drawn Boy

“Donde Esta Santa Claus“ – Guster

“Reindeer Are Wild“ – The Headcoats

“The Rabbit The Bat and The Reindeer“ – Dr. Dog

“Tijuana Christmas” – The Border Brass

“I Heard The Bells On Christmas Day” – Pedro The Lion

“A Very Delfields Christmas” – The Delfields

“Christmas Don’t Be Late” – Catwalk

“Silent Night“ – Low

How-To Guide for Changing Cello Bow Hairs

Admit it or not, the bow is one of the most neglected accessories in the family of string instruments. We mostly put our attention and effort to the instrument itself as we have the perception that it’s the only factor that affects your performance.

While that is true, little did we know, the bow plays a vital role in producing quality and inviting sound. Taking cello as an example, if it weren’t for its bow, today’s tone and sound of this instrument won’t be versatile.

Going deeper into taking care of a bow, the hair in the cello bow also affects the effectiveness of your performance. Bow hair breaks, wear out and gets dirty with frequent use that’s why it should be rehaired at least once a year.

In rehairing, you should guarantee that the following signs are already visible:
– There are a lot of broken hairs.
– There’s a lot of hair loss in the middle part.
– It has discoloration and unpleasant smell.

Guide in Changing the Bow Hair

Changing of bow hair can be done either by a professional or by yourself through following these steps:

  • Cut the purchased cello bow hair for about four (4) inches from both ends
  • Wipe clean the metal of the frog and its button
  • Remove the tip block and clean the stick
  • Remove the ferrule ring before removing the slide
  • Using a pencil, loosen the slide slot then remove the block
  • For the frog’s mortise, you should cut the block and it should match the length of the mortise
  • You can now tie the hair and cut it properly
  • Add some crushed rosin into it before burning the end of the hair
  • Place the hair in the block mortise hole to keep it flat and fitting
  • Add crushed rosin at the end of the block before putting it back to the mortise hole
  • Give the hair a little pull to ensure that the block would not move
  • Trade the slide in the slots on the frog before changing the ferrule ring
  • Produce a new wedge and spread the hair across the ring to test the wedge. You should guarantee that it’s evenly spaced before measuring how far the frog should be to reach the grip
  • Create the tip block then comb the hair until it’s smooth
  • You can wet the hair but refrain it from reaching the wedge
  • You can now tie the hair to the tip block mortise
  • After tying, cut the hair and put in crushed rosin before burning the end of it
  • You should comb the hair again then flip it to tie the end into the block mortise
  • Put in some rosin at the end of the block
  • You can now lubricate the bow screw then flip the hair again to replace the frog

  • At this point, you should tighten the hair a little and adjust it if needed
  • and

  • Apply rosin when the hair is already dry.

After replacing the bow hair, the sound may feel different, but it is perfectly normal. It’ll go back to its original sound through minor bowing or pressure adjustments. However, if you’re still a beginner, it’s best to get your bow re-haired by a professional to prevent it from incurring any damage.

Band to Watch: Cedarsmoke

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For a number of years we’ve been following the Brisbane ‘slacker-rock’ indie band, Cedarsmoke, thanks to the band’s ear-peeking, honest lyrics, and a gritty, yet catchy sound.

The band’s latest single, “Pure Heroin,” is proof-perfect.

“Pure Heroin is a song about Rom-Coms and punk rock,” says vocalist and multi-instrumentalist frontman John Cloumassis. “Specifically, it focuses on the life and death of Sid Vicious and Nancy Spungen,” he says, adding, “musically, we tried to offset their tragic story with a catchy chorus and bright synth sounds, but it’s still a fairly dark song.”

The band often makes picayune observations of down and out of luck characters wrapped inside of metaphor-heavy lyrics and the band’s own brand of Down Under indie rock music.

Last year the band wowed us with their debut E.P., False Start to the Rat Race, featuring singles like “Easy” and “Contraband.”

Ia addition to Cloumassis, the band members are Tom Picton (keyboards, glockenspiel); Yarnell Fischer (lead guitar); Rhys Carroll (bass) and Lewis Heffernan (drums).

Back in 2015, these five young mates from Brisbane decided that since they were already hanging out all of the time, they might as well do something they all loved to do – make music.

And there the seeds for the formation of the band were sowed.

The band, according to Cloumassis, wrote and rehearsed more than 50 songs, many of which spanned various genres from rock to folk, from which the songs for their debut EP, False Start to the Rat Race.

Perhaps the strongest track on the album is the sweet number “Easy,” which Cloumassis says “started when our guitarist Yarnie [Fischer] was playing some chords during a jam about a week before we were booked to start recording the album. It was written and rehearsed pretty quickly after that.”

Soon after the debut, Cedarsmoke began playing local gigs and attracting praise from the city’s picky music audiences who have seen a lot of talent come and go over the years.

The band has opened for artists such as Mermaid Avenue, Grace Turner, Leichardt, Lachlan X. Morris, and Jordan Merrick. They are most influenced by Wilco, Arcade Fire, Band of Horses, The National, Bright Eyes, The War on Drugs, and Bob Dylan.

MP3: “Easy“Cedarsmoke from Traffic On Solitude Road

Bonus Track: “Contraband“Cedarsmoke from Traffic On Solitude Road