About Oneohtrix Point Never:
Daniel Lopatin is a Brooklyn-based musician, composer, and Mercury Prize nominated producer who records and performs as Oneohtrix Point Never. Daniel has released numerous critically acclaimed albums including his most recent self-titled album, “Magic Oneohtrix Point Never”, a culmination of his work over the last ten years. Lopatin was the Musical Director for The Weeknd’s 2021 Super Bowl Half-Time performance and composed and performed the music for Chanel’s 2021 Métiers d’art show. Most recently he was Producer for Soccer Mommy’s “Sometimes, Forever” and an Executive Producer on The Weeknd’s worldwide #1 charted album, “Dawn FM”. He also performs on a majority of the songs on the album. He has collaborated with numerous artists including James Blake, Ishmael Butler, Charli XCX, Kelsey Lu, Iggy Pop, Rosalia and his production credits include The Weeknd, Soccer Mommy, Anohni, FKA Twigs, David Byrne, Moses Sumney and Nine Inch Nails among others.
His original film scores include Josh and Benny Safdie’s Uncut Gems (2019), Good Time (2017) for which he received the Best Soundtrack Award at the 2017 Cannes Film Festival and Ariel Kleiman’s Partisan (2015). His other film work includes contributions to Rick Alverson’s The Mountain (2019) and Sofia Coppola’s The Bling Ring (2013).
About The New Mastersounds
For over two decades, The New Mastersounds have maintained more than just a reputation of longevity. Instead, they’ve cultivated a rare balance of consistency, yet commitment to constantly evolving their sound. Forged out of the golden age of the modern funk and soul revival in 1999, the band has amassed a catalog of sixteen albums, embarked on countless world tours, and drawn in a broad audience through both their original material and collaborations with esteemed vocalists and remixers. After a two-year hiatus of in-person engagements, the band retreated to the brand new Floki Studios in Iceland to hunker down and create their 17th studio album. ‘The Deplar Effect’ was released on Color Red in September 2022, and features Atlanta based vocalist Lamar Williams Jr, son of Lamar Williams of the Allman Brothers.
Ever since forming in 2008 and releasing their debut album, 2012’s My Father and the Hunter, two-time JUNO award-winning alternative group The Strumbellas have steadily released follow-ups containing every ounce of stomping, hand-clapping, alt-country gusto, from 2013’s We Still Move on Dance Floors to 2016’s Hope to 2019’s Rattlesnake. They’ll soon round the corner with a brand-new fifth studio album, Part Time Believer, a collection that signals The Strumbellas’ grand return and rebirth.
Now with Jimmy Chauveau on board as lead vocalist, The Strumbellas spent the last four years writing, recording, and whittling 50 songs down to 12. Honed by producers Ben Allen (Gnarls Barkley, Kaiser Chiefs), Keith Varon (Machine Gun Kelly), Stevie Aiello (30 Seconds To Mars), and Dave Schiffman (RHCP, The Killers), Part Time Believer continues The Strumbellas’ long-standing tradition of blending anthemic, brightly coloured compositions with yearning, contemplative lyrics.
“I think people often feel like things are escaping them, or they’re trying to grab on to something — happiness, gratitude, professional or personal goals — and for some reason, they just can’t get there,” says David Ritter, who handles piano, organ, percussion, and vocals. “Even if they get the thing they want, it doesn’t feel the way they thought it would. A lot of these songs are about trying to, like, figure out why we’re all feeling this way, and how we can find more peace in our lives.”
About Giant Rooks:
In 2015, singer Frederik Rabe, guitarist Finn Schwieters, bassist Luca Göttner, keyboardist Jonathan Wischniowski, and drummer Finn Thomas founded Giant Rooks. Their accomplishments have multiplied impressively since then. They won a 1LIVE-Krone Award, a seven-figure group monthly listeners on Spotify, and have sold out concerts everywhere from Rome to Paris to Manchester. In Germany, they’re already filling venues other artists only have on their tour schedules after 15 years in the scene. Yet with just three EPs, Giant Rooks seem to sell them out every time and are probably the most promising band to come out of Germany in a long time. They took their time with their debut. Having played more than 350 shows in recent years has given them endless possibilities to refine their own sound.
With “Rookery”, the band freed themselves from the idea of how things are “supposed” to be done. The result sounds unified and whole – sounds like 2020 – and spans a frame of reference that’s at least unique in German-speaking countries. The beats always sound like Kanyesque hip hop and the song structures even occasionally bring Bob Dylan to mind. The soundscapes are influenced by Bon Iver. The band playfully combines modern influences with classical structures and classical sounds with modern song structures. When it comes to playing music, as well as listening to it, Giant Rooks aren’t looking to fit into any one genre or emulate anyone.
About Bendigo Fletcher:
The full-length debut from Bendigo Fletcher, Fits of Laughter is a collection of moments both enchanted and mundane, sorrowful and ecstatic: basking in the beauty of a glorious lightning storm, waking with a strand of your beloved’s hair happily caught in your mouth, drinking malt liquor while bingeing “The X-Files” on a lonesome Saturday night. As lead songwriter for the Louisville, KY-based band, frontman Ryan Anderson crafts the patchwork poetry of his lyrics by serenely observing the world around him, often while working his grocery-store day job or walking aimlessly in nature (a practice partly borrowed from the late poet Mary Oliver). When matched with Bendigo Fletcher’s gorgeously jangly collision of country and folk-rock and dreamy psychedelia, the result is a batch of story-songs graced with so much raw humanity, wildly offbeat humor, and a transcendent sense of wonder.
Mannequin Pussy’s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins “Bear” Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. “There’s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ,” says Dabice. “The ethos of this band has always been to bring people together.” Their latest I Got Heaven, which is out March 1 via Epitaph Records, is the band’s most fully realized LP yet. Over 10 ambitious tracks which abruptly turn from searing punk to inviting pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It’s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive.
Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band’s official lineup. Where the band members’ personal lives were in transition with breakups, changing living situations, and periods of self-reevaluation, their time together on the road was a grounding and clarifying force. “There was so much going on in our lives that it was the perfect opportunity to recalibrate who we were as people and musicians,” says Regisford. The band changed their entire formula, choosing to write together in Los Angeles with producer John Congleton over slowly crafting tracks at home. “When I’ve written songs, it’s usually a very solitary process,” says Dabice. “So this was shedding a lot of those hermit-like qualities to do something intensively collaborative. Your best work comes when you allow other people into it.”
By December 2022, the band had 17 new songs written with Congleton in Los Angeles. “Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be,” says Regisford. New member Maxine Steen, who has made music with Dabice for years including their side project Rosie Thorne, was especially essential to the writing sessions. The album opener “I Got Heaven” initially started as one of Steen’s demos. “When she showed it to me I knew it was going to be fun because the verses have this hard-hitting and aggressive approach but the chorus allows for a really soaring melody,” says Dabice. The result is electric. Over walloping guitar riffs, Dabice defiantly yells, “And what if I’m an angel? Oh what if I’m a bore? And what if I was confident would you just hate me more?
The song with its righteous lyrical blending of the sacred and profane is an unapologetic look at Christian hypocrisy. “I don’t think there’s ever been anything in need of a spiritual revolution more than modern-day Christianity,” says Dabice. “It sickens me the way that people use it as a way to do the worst things imaginable, say the worst things imaginable, and pass the worst imaginable legislation that directly harms people.” Instead of judgment, greed, and avarice, the songs on I Got Heaven ask what it really means to genuinely care about the people around you and help your communities in ways you can. “The world that we live in is heaven,” says Dabice. “We live on the most beautiful planet in the solar system, just by a chance and we are continuingly destroying it.”
This sentiment is mirrored by the album’s cover art: a figure and a pig in nature. There’s an intentional ambiguity there that makes you wonder if this person is leading the animal to slaughter or its protector. “We should really be the shepherds and the protectors of everything that we have and the world we live in,” says Dabice. I Got Heaven is an album that understands the stakes of its message: there are countless references to fire, hunger, and holiness. Here, teeth gnash and bodies are temples that ache with desire. On the yearning single “Nothing Like,” which is anchored by a dancey, shuffling drum beat from Reading, Dabice’s voice eventually morphs from a coo to a roar as she sings, “Oh what’s wrong with dreaming of burning this all down?”
Even when the songs on I Got Heaven don’t deal with fundamental human questions about how to live, Mannequin Pussy still finds ways to add urgency and resonance. Just take the buoyant and playful single “I Don’t Know You,” which slowly builds to a hair-raising peak with Reading’s brushed percussion, Steen’s enveloping synths, and a thoughtful groove from Regisford. “On that song, I changed the tuning last minute which transformed the song but everyone instinctively knew what to do,” says Dabice. “It was really cool to watch a song come alive in real-time. It’s such a gift to meet other people who are creatively on the same wavelength as you, where there’s no judgment in sharing ideas.”
The lightness of this track pairs perfectly with the rest of the tracklist, even when it’s snarling rock like “Loud Bark” or punishing hardcore punk with Regisford sharing lead vocal duties on “OK? OK! OK? OK!” “If you’re a Mannequin Pussy fan, you know that we’re going to have some rippers,” says Regisford. “We’re gonna have something that’s going to be in your face. But we’re also going to give you something that’s going to be light to the touch with its own version of aggression.” The loud and uncompromising single “Of Her,” finds Dabice screaming, “I was born / Of her fire / Of sacrifices That were made / So I could make it.” It’s a song about living life without regrets and understanding the sacrifices that you and your parents, especially your mother, made to allow you to live the life you want.
I Got Heaven is a visceral and stunning album for people who aren’t content with the status quo, made by people who challenged themselves and got out of their comfort zone. ”We’re supposed to be living in the freest era ever so what it means to be a young person in this society is the freedom to challenge these systems that have been put on to us,” says Dabice. “It makes sense to ask, what ultimately am I living for? What is it that makes me want to live?”
About Young Rising Sons:
hey, we’re young rising sons and we’re from brooklyn, ny.
since 2010, when we decided to start a band in steve’s parents’ basement, highs and lows have been our mantra (somewhat literally).
we’ve been played on the radio, signed a major record deal, then dropped from said major label, toured the us, canada, and the uk where we played some cool festivals, a lot of sold-out shows, and also some shows to a crowd of 5 people including the bar staff (perhaps this is why you’re not supposed to write your own bio, but unapologetic honesty is kind of our thing).
our band is about embracing the journey, valuing the perspective we get from the lows, while soaking in the highs. the growing pains, the ebb & flow, and the unpredictability of life is what defines us as humans, and we’ve been able to experience all of it together as best friends. that’s what we like to write songs about.
we’re young rising sons, and we’re a band from brooklyn.
much love,
andy, steve, julian & max
Daniel Balderrama Espinoza, better known as DannyLux, was born in Palm Springs California, and at the age of 19 he already has an important musical career. DannyLux is the youngest of three siblings. When he was 7 years old, his mother, Patricia made him sing in the church choir community where he learned to play the guitar. When he was 16 years old, In mid-2020 DannyLux signed a contract with VPS Music. On January 15, 2021, he released his first album Las Dos Caras Del Amor with hits such as: “El Dueño de Tu Amor. DannyLux’s made collaborations with the successful group Eslabon Armado where he wrote and was featured artist for: Jugaste y Sufri. On October 2, DannyLux hit # 1 on the billboard Songwriters & Producers chart and stayed for 3 consecutive weeks. At the end of 2021 DannyLux enters the Warner Music Latina company recording his second album in his career “Perdido En Ti” which debuted at #1 of Apple Music Top 200 Latin Albums.
The Mexican American alt-sierreño singer-songwriter recently his 4th studio album DLUX with Warner Music Latina and VPS Music. It debuted #4 Top Albums – Latin Music in the US and #7 Top Album Debut Global. DannyLux continues his genre defying style through his new studio album in which he calls the best of him yet. With 17 tracks, this album captures the heartfelt emotions that come with relationships and the essence of youth all in one.
