The Red Light District Show Season 3 Episode 4
No Cover Interview with Princess goes to the Butterfly MuseumMichael C Hall (Dexter) fronts this psychedelic rock journey that is called Princess goes to the Butterfly Museum.
New York, NY – November 18, 2021 – Princess Goes To The Butterfly Museum (Michael C. Hall, Peter Yanowitz & Matt Katz-Bohen) have released the official video for “Tomorrow’s Screams,” from their debut album THANKS FOR COMING, ahead of their Fall European Headline Tour that kicks off next week. PRESS HERE to watch, and check out “first look” pieces from 1883 Magazine and InsideHook. Tickets for the tour are on sale now, and the full routing can be found below. For fans in New York City, the band will play one last show on their home turf in 2021 before flying overseas. Catch them at The Sultan Room in Bushwick on Wednesday, November 24. PRESS HERE for tickets and more information.
The new video, shot by Lexie Moreland, finds bandmates Michael C. Hall, Matt Katz-Bohen and Peter Yanowitz trapped in a mental maze of clashing feelings as they walk through mundane acts that the camera exposes to be magically intriguing. Each occupy their own world and slowly begin to congregate toward a collective that is seemingly more settled with a prescribed sense of calm and comfort.
“I laid in bed with headphones on one night and listened to the song on loop for hours until I fell asleep, just letting my subconscious work it out, jotting down feelings, impressions and visuals as they came,” said Director and Cinematographer Lexie Moreland. “The toothpaste and silly string moments were ones that occurred to me in that way, via a kind of dream state, and I felt they would work with my vision of each of the guys being on a solo, as well as a collective, journey. And then the apple became the unifying symbol, an image that would connect an overall feeling of disconnection, which is really the emotional tone that I felt being communicated by the song. I chose the apple because it’s visually lovely, and it’s also an homage to Magritte’s famous self-portrait ‘The Son of Man.’I like that as a somewhat subliminal reference since the song, like all songs, is also of course a self-portrait.”
Princess Goes To The Butterfly Museum is comprised of vocalist, lyricist, musician and actor Michael C. Hall (Dexter, Six Feet Under, Hedwig and the Angry Inch), drummer Peter Yanowitz (The Wallflowers, Morningwood) and keyboardist Matt Katz-Bohen (Blondie). The band released their debut full-length album, THANKS FOR COMING, earlier this year which was preceded by their self-titled EP. Both received rave reviews from Rolling Stone, Billboard, Paper, Alternative Press, Associated Press, Consequence of Sound, People, American Songwriter, Magnet, FLOOD, Forbes, Huffington Post, NME, Line of Best Fit, The Independent, Entertainment Tonight. The trio eschews traditional rock instrumentation in favor of stripped-down synthesizer-and-drum attack, and a wealth of disparate influences flow into Princess Goes to the Butterfly Museum’s songs - the glam, experimental, ambient music of David Bowie, Giorgio Moroder’s ‘70s disco productions for Donna Summer, ‘80s new wave dance music, contemporary electronic dance acts like Justice. A theatrical sensibility is part of the trio’s DNA, especially in live shows, having met several years ago on Broadway during the production of Hedwig and the Angry Inch.
Michael C. Hall is a musical talent and a longstanding Broadway performer, having played leading roles in Chicago, Cabaret, Hedwig and the Angry Inch and was selected by David Bowie to star in his musical, Lazarus. He has also earned many accolades for his acting, including an Emmy nomination for his work on the HBO drama Six Feet Under and a Golden Globe and Screen Actors Guild Award for the acclaimed Showtime series Dexter. His bandmates boast similarly prodigious resumes. Peter Yanowitz began his career playing drums in The Wallflowers before going on to co-found indie stalwarts Morningwood and work with artists as varied as Natalie Merchant, Yoko Ono, Andrew W.K., Allen Ginsberg, and Billy Bragg & Wilco, who enlisted him to perform on their seminal ‘Mermaid Avenue’ collaboration. Keyboardist Matt Katz-Bohen spent the last decade touring and recording with Blondie, in addition to working with Boy George and Cyndi Lauper.
No Cover Interview with Exbats“Every town’s got some old man in a mask…”
Today The Exbats have released their new album Now Where Were We, via Goner Records. Leading to the release the band shared the album’s "Best Kiss" as well as the opening track “Coolsville USA” a jangly yet sinister guitar-pop ode to the friendship that exists between Scooby Doo and Shaggy Rogers. Brooklyn Vegan labeled it "immediately catchy" and Austin Town Hall said, "dammit if you’re not going to fall for it in the biggest way. On the surface, you do get that sort of classic 60s sugar-pop, but beneath that, there are hints at sort of early 80s punk (thinking Blondie here), not to mention the jangles that swept overseas from Flying Nun; its a huge sound."
With Now Where Were We The Exbats hit the ground running like a dystopian garage rock version of the Shangri-Las, or like a message to the future from the pre-Velvet Underground doo-wop wannabe Lou Reed. The album rings bright, like a beacon in the wilderness: eminently, effortlessly catchy, and loaded with buoyant choruses that rank alongside the best chart-toppers launched by the Brill Building or Phil Spector’s Wall of Sound.
Kenny McClain and his daughter, vocalist and drummer Inez McClain, formed the nucleus of the Exbats over a decade ago, when Inez was just 10 years old; today, Bobby Carlson rounds out the group on bass. Despite their remote location in Bisbee, Arizona, just 11 miles north of the U.S.-Mexican border, the group quickly racked up accolades citing a wealth of influences that run from cartoon quintet the Archies to punk rock originators the Avengers, and from the so-sweet-it-hurts 1910 Fruitgum Company to Los Angeles antiheroes the Weirdos. Truthfully, the Exbats embrace a wider swath of musical styles, incorporating blue-eyed soul, tongue-in-cheek country, Brit pop, psych, and R&B into their sound.
Now Where Were We, the ExBats’ fourth album, to be released October 22 on the Memphis-based Goner Records, thematically describes the sensation of coming full circle having changed. “It’s oblique, but this is our pandemic record. It’s about taking a breath and figuring out where you are in your life; coming back to what feels important,” Kenny explains.
The McClains describe this album as “more ambitious” than its predecessors. While earlier records were recorded over a few days or weeks, Inez and Kenny wrote the 12 songs that comprise Now Where Were We over “like 40 Saturdays in a row.”
The Exbats tooled 90 minutes northeast to Tucson to record, per usual, with Matt Rendon at Midtown Island Studios. “We record there because we like that he isn’t a real modern guy,” Kenny says. “Matt has an encyclopedic knowledge of the type of music that influences our writing, namely mid-60s American pop. There is no Logic or ProTools, no excessive use of technological tools, no pedals. We just rehearse and record to eight-track tape.”
Like the best records to croon along with, Now Where Were We is captivatingly simple, yet hardly simplistic. The Exbats are singing from their hearts—and they aren’t afraid to bare their souls. “We’re an honest band, doing our best,” Kenny says. “Maybe listeners will feel like their ears are refreshed and ready for more noise from the world, or maybe they’ll feel like they found a new friend that isn’t remote or shrouded by commercial intentions. Maybe some of these songs will get stuck in their heads. We hope they smile and sing along.”
No Cover interview with the WombatsEven after eighteen intense years of bouncing, bellowing and soul-baring your way to the top, some successes strike when you’re not looking. While The Wombats were hard at work remotely constructing their fifth album Fix Yourself, Not The World from LA, London and Oslo, a new generation of TikTokers were sending the band viral by making over 600,000 videos – some viewed over 100 million times – around the opening lines of the Oliver Nelson remix of their 2015 Glitterbug album track ‘Greek Tragedy’: “We’re smashing mics in karaoke bars, you’re running late with half your make-up on”.
“I think one influencer made a video of her dancing, singing the opening, and then it took off and every man and his dog were doing it,” says singer Matthew ‘Murph’ Murphy of a viral breakout that has seen the remix streamed 30 million times, the original track 120 million (sending it gold in the US) and add 2.4 million to their monthly Spotify listeners since January 2021. “Someone sent me Charlie Puth singing it like whilst having some granola. I guess people were searching ‘what is this song?’ It turned out that remix was on some Hed Kandi compilation [Dusk ‘Til Disco, 2015] and that was the only outlet for it. It's cool that random celebrities are singing the opening lines to something I wrote a long time ago, it’s great that it’s doing well but it's just completely random.”
The success of the ‘Greek Tragedy’ remix is further illustration, if any were needed, of The Wombats’ ability to remain relevant to new generations of fans through the timeless power of their songwriting alone. Formed at the Liverpool Institute Of Performing Arts in 2003, they were the three-headed guitar pop sensation – Murph, bassist Tord Øverland Knudsen and drummer Dan Haggis - that erupted out of Merseyside with Top Twenty hits like ‘Let’s Dance To Joy Division’ and ‘Moving To New York’ during the late-‘00s indie rock explosion, stamped their mark on the era with 2007’s fervidly melodic debut album A Guide To Love, Loss & Desperation, and then transcended it. By 2011’s This Modern Glitch (a UK Number 3 hit) and 2015’s Glitterbug (Number 5) they’d easily hurdled the shift to streaming and become a playlist phenomenon thanks to tracks such as ‘Tokyo (Vampires & Wolves)’, ‘Techno Fan’, ‘1996’, ‘Emoticons’ and their online secret weapon ‘Greek Tragedy’.
Murph’s magnificent way with melding deeply infectious melodies with dark, wry and surreal confessions from his fractured psyche and shame-filled romantic history – combined with the band’s gradual embrace of the synthetic tones and textures of modern pop – endeared them to new waves of young streaming fans (over half are under 24) and has seen their popularity continually expand. Their sets at festivals such as Reading & Leeds would draw the biggest crowd flockings of the entire weekend, and the UK tour for 2018’s Top 3, silver-certified fourth album Beautiful People Will Ruin Your Life (home of ‘Turn’, ‘Cheetah Tongue’ and post-row domestic confessional ‘Lemon To A Knife Fight’ and currently nudging 300 million streams) culminated in a celebratory show at Wembley Arena, complete with dancing wombats.
“Top five gig ever,” Murph remembers, “I’m very proud that we’ve stuck in like some dirty little warthogs. It hasn't been the easiest road but we've always kept our focus and it's paying off…I thought it was gonna stay in that mid-2000s indie rock phase forever and then swarms of younger people are now getting into the band and finding the older stuff.” Testament to the strength of your songwriting? “I think for me it's a combination of hard work and that lyrically and musically we've always done what we like. I've never tried to tone it down for any commercial gain. I like weird, odd lyrics, crazy titles or strange concepts for songs. I struggle to write songs that come from more of an accessible or blander place.”
Not a band averse to internal frictions, The Wombats took a well-earned break after the Beautiful People tour wrapped up at Reading & Leeds 2019 and reconvened early in 2020, first as a group at Murph’s home studio in LA where a “bedrock” of four or five songs came together, then working and recording remotely throughout 2020 once lockdown hit, marshalled by a variety of producers including Jacknife Lee, Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves) and regular Wombats desk-man Mark Crew. “The plan before we started was David Byrne - a decent amount of brass going on - meets LCD Soundsystem,” Murph says of the album’s intended direction. “All I had in the back of my head was to keep it real and as organic as possible and not throw the kitchen sink at it. Then we ended up throwing the kitchen sink at it. Somehow the kitchen sink just appears no matter how much I’d like it to disappear. It's great, but we’ve absolutely lobbed everything at it again.”
The Red Light District Show - Season 3 Episode 3
The Red Light District Show - Season 3 Episode 2
The Red Light District Show - Season 3 Episode 1
No Cover Interview with Burial WavesTreble is currently hosting an exclusive stream of “Cinema Shame,” the new single from Baltimore, Maryland/Washington, DC-based alt/post-rock quintet BURIAL WAVES. The track precedes the band’s impending debut EP, Holy Ground, nearing November release through Dark Operative.
Holy Ground was recorded and engineered by J Robbins (Jawbox, Burning Airlines) and Dennis Manuel, mixed by Paul Malinowski (Shiner), mastered by Mike Nolte at Eureka Mastering, and completed with cover art by Joby Ford (The Bronx).
BURIAL WAVES’ vocalist Kyle Durfey offers with the release of the “Cinema Shame” single, “The first line of the song was one of those things where it had just been floating around for me to grab, it just landed pretty effortlessly onto Ross’s riff and that’s always a starter for me, and I kind of let that navigate through and dictate the rest of the mood/song. Overall, lyrically, I was kind of playing with the idea of a relationship as a film for everyone to see. It’s just a story about having nowhere to hide your flaws behind.”
Writes Treble, “Today, they’ve shared new track ‘Cinema Shame,’ a brawny post-hardcore track that merges the atmospheric density of Hum with the punk immediacy of Fugazi.”
Stream BURIAL WAVES’ “Cinema Shame” first only through Treble now at THIS LOCATION.
Holy Ground will see digital release through Dark Operative on November 12th. Find preorders where lead single “Light Heads” is streaming HERE
BURIAL WAVES has also booked several live performances, including a slot supporting Quicksand on October 27th, and a set supporting Fucked Up on January 24th, both in Washington, DC. Watch for additional videos and more to post over the days ahead.
BURIAL WAVES Live:
10/27/2021 The Black Cat - Washington, DC w/ Quicksand, Narrow Head [tickets]
1/24/2022 Union Stage - Washington, DC w/ Fucked Up, Empath [tickets]
The DC/Baltimore area has a history of musicians reevaluating the violent nature of hardcore and replacing its primal aggression with a broader sonic range and a more compassionate consciousness. This didn’t diminish the urgency or physicality of the music… if anything, the bands opting out of the brutish impulses of their youth were even more powerful in their newfound delivery. Many of these bands are synonymous with the Salad Days-era’s blend of heft and heart, but outsiders are often surprised to learn that the scene isn’t exactly a mecca for the underground’s lifers. DC in particular is extremely transient—a metropolitan area with a high turnover as young people move in and out of town with every new election cycle. But just as the city’s halcyon days of the ‘80s punk scene saw a variety of projects sprout up from the same pool of musicians, there is a current contingent of permanent residents who continue that lineage of interconnection in their mission to create exhilarating, introspective, and forward-thinking rock.
In that sense, BURIAL WAVES is a quintessential DC/Baltimore band. With the dissolution of their expansive post-rock outfit Black Clouds, guitarist Ross Hurt and drummer Jimmy Rhodes immediately reached out to their old friend Kyle Durfey of post-hardcore luminaries Pianos Become The Teeth about working on a new project. Hurt’s former bandmate Kevin Hilliard from prog-punk trio Caverns was brought on board to cover bass duties and Matthew Dowling of math rock ensemble The EFFECTS joined in on second guitar. Collectively, the band is its own sonic entity, but you can certainly hear not only the members’ individual pedigrees, but the history of their hometown in their collective output.
No Cover Interview with The BrethrenThe Brethren, a new country rock group made up of award-winning, singer-songwriting brothers who formed as a band in the early days of the pandemic, have released their first new single “I Ain’t Got You,” available HERE.
The story of The Brethren is both unique and familiar. Brothers often make musical history; from Noel and Liam Gallagher of Oasis to the Allman Brothers and the Jackson 5, and the world loves the story and sounds of siblings making music. That’s why Grammy-winning bassist Lonnie Chapin and his brother Grammy-nominated drummer and BMI Song Of The Year winner Chad Chapin knew something was special was cooking when another set of brothers from their same little hometown in Oregon approached them to write songs. Brothers Casey Parnell and Corey Parnell are also musical powerhouses, writing hundreds of award-winning songs and touring constantly for the last decade.
“The musical potential was evident when all four of us got together to write as a group for the first time in March of 2020,” said lead singer Corey Parnell. “Before we knew it, we found ourselves locked up in an East Nashville rehearsal space writing with ease, as the world was shutting down around us because of COVID.”
Drummer Chad Chapin added, “Those whiskey-fuelled, all-night sessions produced a sound that we feel is both stage and radio-ready. It’s rock and roll energy with country roots, sharing stories of romance and rebellion.”
The band describes their first single release - “I Ain’t Got You” - as a country-rock song, with a driving energy and anthemic chorus melody that’s hopeful, while its lyrical content remains rooted in the longing heartbreak of a classic country ballad.
Chad Chapin is a Grammy-nominated drummer, Dove award winner, and twelve-time BMI Music Award winner, including the highly coveted “BMI Song of the Year.” He was a multi-instrumentalist/percussionist for Ben Folds, and a founding member of rock band “Tait,” which he co-founded with former DC Talk lead singer Michael Tait. Chad lives in Nashville where he continues to write, produce and record music.
Casey Parnell is a musician, songwriter, and producer based in Portland, Oregon. He’s the lead guitarist and founding member of the award-winning band Precious Byrd. He has written, produced, and recorded for artists Shannon Bex of MTV’s supergroup Danity Kane to Thunderstorm Artis of NBC’s “The Voice.”
Corey Parnell is a vocalist, musician, songwriter and session musician who also resides in Portland, Oregon, and the lead singer of Precious Byrd. A seasoned performer, he has shared stages with artists Kris Kristofferson, Trace Adkins, and Lindsay Ell, and has written songs for artists like Steve Fee and Bex of Danity Kane.
Lonnie Chapin is a Grammy and Dove award-winning bassist and Gospel Music Hall of Fame inductee. Lonnie moved to Nashville at the age of 21, and within two months was asked to play bass for iconic rock band Petra. With Petra, Lonnie performed around the globe, performing in more than 23 countries, was inducted into the Hard Rock Café, and co-wrote the #1 hit song “If I Had to Die for Someone.” Lonnie then joined forces with his brother Chad and former DC Talk lead singer Michael Tait to form the Grammy-nominated rock band “Tait.”
No Cover Interview with Scarlet SirenHometown: Corona CA
Vocals: Fann Geoghegan
Lead Guitar: Katie Brewer
Keyboard: Rachel Manriquez
Guitar: Raul Loza Jr.
Bass: Jared Mendivil
Drums: Dylan Cutler
A fierce new take on Melodic Metal
No Cover Interview with Nathan JamesNathan James releases heavy hitting rock song "Appetite" on October 22nd featuring fierce vocals with melodic choruses and dark industrial tones. A perfect record for the October holiday season Nathan’s main musical influences include Staind, Rob Zombie, Ozzy Osbourne, & Marilyn Manson.
"Appetite" was written by Nathan James & Nick Furlong. Nick has written and produced records for Avicii, Kygo, 5 Seconds of Summer, All Time Low, Papa Roach, Fever 333, Sleeping With Sirens & many more.
"Appetite" will be receiving strong support from Spotify, Apple Music, & YouTube Music.
Nathan James New York
Billboard at Times Square, New York
Nathan James is an independent artist who is a “Photographer Rockstar.” Nathan stands for the popular outcast with a goal to turn all life experiences good or bad into “MORE ART” through music and photography.
Hailing from the Mile High City of Denver, Colorado, Nathan James has
always been pushing out his creative energy for the world to see. Building a foundation as one of the most desired entertainment photographer behind some of the industry’s most iconic shots (Lil Wayne, Justin Bieber, Machine Gun Kelly, Avril Lavigne, Post Malone & many more.
Since his burst onto the music scene in early 2020, Nathan James has already developed into a full-blown rockstar, manifesting his creative influences into a unique musical identity. It would be an understatement to say that Nathan hit the ground running. Despite the compromising circumstances of COVID-19, Nathan James has released 10 singles and amassed millions of streams across all platforms.
Nathan James has no intention of stopping his production of “MORE ART”. Whether it’s photography, music, or any other form of art, Nathan James is a unique presence that cannot go unnoticed. In a world full of creativity and expression, Nathan James urges people everywhere to create “MORE ART”, and he’s not afraid to lead by example.
No Cover Interview with Yachtley Crew