Topshelf Records to release Cut Teeth's 'Televandalism'

Topshelf Records to release Cut Teeth's 'Televandalism'

Written by Holly Aker. Promo photo provided.

Chicago-based indie punk band Cut Teeth make some interesting music - in a good way. Absolute Punk said they “sound like they belong in the back catalogs of the best of Jade Tree and Hydra Head." Mind Equals Blown said that “bands just don't make music like this anymore” while the band says that they just want to be loud. Now fans can hear this loud, one-of-a-kind music in a whole new way.

On July 24, Topshelf Records is set to re-release Cut Teeth's EP, Televandalism, which the band originally released as digital-only. The new Televandalism has been completely remastered and is also being released as a vinyl with a bonus track and artwork by Ben Sears.

This news comes after the recent announcement that Cut Teeth, who were previously unsigned, joined Topshelf Records recently. This summer the band will be opening a few shows for With Knives, Fall Out Boy, The Damned Things along with Disguised As Birds. Watch Cut Teeth perform "Gospel Choir" live below.

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Delta Rae release video in support of marriage equality

Delta Rae release video in support of marriage equality

Written by Eli Watson. Promo photo by Smallz and Raskind.

Americana rock group Delta Rae are not just using their trademark four-part harmonies for making hits. They're also striking out against inequality. The group recently released a video to their song "Chain of Love," a powerful and moving arrangement that showcases the band's supporting of marriage equality.

A six person unit from Durham, North Carolina, Delta Rae have traveled throughout the United States, making a name for themselves at this year's South By Southwest. Now, preparing for the release of their debut album, Carry The Fire, which comes out on June 19, the group will be performing throughout the country, spreading their chain of love with each performance.

Written as a protest to California's Prop 8, "Chain of Love" has since become a protest to a similar amendment in North Carolina, known as Amendment One. Hoping that the song and video will inspire many states to be fair and equal with marriage, Delta Rae is living proof that music can also contribute to change, and good change at that.

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The Hives release new video & announce tour dates

The Hives release new video & announce tour dates

Written by Eli Watson.

2012 cannot possibly be the end of the world. Not with a new The Hives album coming this summer. That's right--the Swedish garage rockers will be releasing their fifth studio album, Lex Hives, on June 5, the follow-up to 2007's The Black and White Album. Known for their classic hit "Hate to Say I Told You So," The Hives have become renowned for their upbeat sound, and energetic live performances.

This year marks the band's long-awaited return. From performing at Coachella, to invading television airwaves on Jimmy Kimmel Live!, The Hives are set for a successful comeback, and their new album is proof of that. Just one viewing of the music video to their latest single, "Go Right Ahead," and you'll see that the Swedish boys have still got it. Filmed live at RMV studios in Stockholm, Sweden, the video captures the band's hard rock sound, while also showing off the studio (which happens to be owned by ABBA's very own Benny Anderson).

Featuring 12 new songs Lex Hives is packed full of material that will reacquaint fans with The Hives' music. Following the release of the album, the group will be doing a North American tour, stopping in Washington, New York and Chicago, to name a few.


The Hives North American Tour

June 19     9:30 Club                  Washington, D.C.
June 20     Electric Factory         Philadelphia, PA
June 22     Terminal 5                 New York, NY
June 23     House of Blues          Boston, MA
June 25     Metropolis                 Montreal, QC
June 26     Sound Academy        Toronto, ON
June 27     Clutch Cargo's           Pontiac, MI
June 29     Summerfest               Milwaukee, WI
June 30     The Vic Theatre          Chicago, IL

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Concert Review: Social Distortion at Stubb's

Concert Review: Social Distortion at Stubb's

Review by Ian Morales. Photos by Mary Rehak.

It seems that a Social Distortion (Social D) concert is close to becoming a semiannual event in Austin. Their last visit in 2010 felt like just the other night. Still, the experience is so memorable because we so rarely get big punk rock touring shows in Austin that you hold on to each moment. The other Social D concert memories come from the great bands that play before Social D. The May 6 concert at Stubb’s was no different as two different but complimentary acts set the night and mood for Mike Ness and company: Lindi Ortega and Riverboat Gamblers.

Lindi Ortega is a Nashville-based singer-songwriter by way of Toronto. Inspired by early country greats like Johnny Cash and classic rockabilly, Ortega was a great warm up for the early crowd in attendance. Dressed in all black with red cowboy boots, Ortega may have appeared to be a petite rockabilly chick with a soft Dolly-esque voice, but her music portrayed a dark hiding behind her small frame. Songs like “I’m No Elvis Presley” and “Little Lie” drew louder crowd responses, but her banter in-between songs is what won the crowd over.  The public may not know it yet, but Ortega could be the bastard love child of Johnny Cash and Dolly Parton. That’s what she sounded like to me anyway.

Things were turned up a notch when Austin’s punk rock heavyweights Riverboat Gamblers took the stage. Lead by the dynamic frontman Mike Weibe, they performed a high energy set that included new material from their upcoming release, The Wolf You Feed. “Comedians” and “Loser Neck,” which Weibe explained was a song about “not dressing cool,” were the standout tracks from the new stuff. Familiar favorites like “Maggie Lea” and “A Choppy, Yet Sincere Apology” brought out some sing-alongs from the crowd.
The highlight of the set was when Weibe left the stage to walk into the crowd to grab a cell phone from someone, only seconds later to call someone and sing into the phone, microphone in hand during the middle of a song. Those kind of shenanigans are typical from Weibe and add a great element of humor and “I don’t give a shit, it’s just punk rock” kind of attitude.

Despite the antic, I was disappointed with the Gamblers’ set. To no fault of the band themselves, Sunday’s set was the tamest I’ve ever seen from them. After seeing them live multiple times over the years, including at Warped Tour and multiple Red 7 shows, I expected madness from any punk rock crowd in front of them. There were no intense mosh pits, just a couple of small ones here and there that only lasted for a bit. No one was crowd surfing or getting kicked out. It just felt strange to me.

The crowd woke up once headliners Social D took the stage. These days Mike Ness is worshipped and adored even more so than before, and deservedly so. Arguably the current godfather of punk, or at least cow-punk, Ness was in his usual white shirt and suspenders.

Opening with classic tracks “Bad Luck” and “So Far Away,” pits ensued and things got punk for the first time all night.  The rest of the set was not very much different from a Social D greatest hits list, but Ness knows what people want to hear. Those greatest hits sell tickets. He mixes the order up enough to keep things interesting, switching from more bluesy tracks like “Bakersfield” to tracks like Johnny Cash’s “Ring of Fire.” The only disappointment from Social D was not playing “Mommy’s Little Monster.” People screamed for it, they performed it in 2010 when I saw them last, but no dice for old school fans.

Despite the one disappointment, the current reincarnation of Social D put on a fine show Sunday. It was one of the tamer punk rock shows I’ve attended, but not everything needs to be chaos in punk all the time. Punk is an attitude and state of mind after all, not what you wear or how you behave at a concert.

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Concert Review: Sarah Jaffe at The Parish

Concert Review: Sarah Jaffe at The Parish

Review by Kira Watkins. Photos by Mary Rehak.

Last Friday night, The Parish with its intimate feel, the historic and medieval elegance of its wood floors and chandeliers, and exquisite acoustics welcomed Dallas-based bands Zhora, John Singer Sargeant, and Sarah Jaffe, a modern ensemble of indie pop/rock and electric energy.

Arriving early, I talked with fans about whether Jaffe’s new album The Body Wins is a departure or an evolution from indie folk to indie rock. I was told that she is growing and that an artist will grow cold if she tries to stay the same. I also saw an unassuming Jaffe walk through the room.

The night began with Zhora, a new collaboration of former members of the band Ishi, Taylor Rea and Rob Bastien. Zhora is new to me, and I didn't expect to be so taken.

Rea, dressed in black, emerged in a soft purple light, dreamlike, reminding me of Madonna. Immediately, she went melodic, hypnotic and high over a driving club beat. Her soulful, haunting voice was not lost in the '80s electro pop beat, floating above futuristic sound with energy forcing beyond the walls. Several times she showed her teeth in feisty emotion. The band was zoning, the slammin' beat making the room pulse.

By the third song, the room was filled and the crowd captivated. The band pumped out songs like "The Hold" and "Sunset," which I have read is influenced by early Madonna. Zhora also performed a sultry, beautiful, and enchanting version of The Cure’s "Just Like Heaven."

John Singer Sargeant followed, having released a self-titled debut album in April on which John Dulfilho, an impressive multi-instrumentalist, performed and mixed but had several vocalists. Before starting, Dulfilho, chill and intellectual, explained that this had never been done before and that he had invited friends to join.

The set was a fun, fresh, and inventive mix of experimental, electro pop, and funk. I think some people had a difficult time getting into it.

Jaffe joined for a couple, including "Married to the Sea." She avoided stealing attention, adding beautiful, ethereal high tones. One of the many other vocalists was Kool and Gang's Sir Earl adding soulful vocals and Erik Sanden in "Lazy Days Are Good."

The packed house buzzed in anticipation of Jaffe. Gone were the simple acoustic guitar, drum, and string that produced the raw Texas indie folk sound on her first full-length album Suburban Nature.

We would hear full-on indie rock and a bass guitar in the hands of Jaffe. In the misty blue and purple light. She held a white guitar and stood with strong elegance. Her slick platinum do stirred jealousy.

With a simple, “thanks,” she launched boldly into the first song "A Sucker for Your Marketing" It's about relationships, and her dramatic emotional vocals sell it. She continued with "Glorified High," a new song which is buzzing with the new video on MTV.

Her raspy, earthy, and intoxicating vocals ride on distorted guitar, a futuristic sound, and driving beat.

"...This is all in Texas everybody. Good music is in Texas," Jaffe said, giving props to her opening acts.

Next she sang "Halfway Right" with high poetic lyrics perhaps of darkness and tragedy or vulnerability. There are not the folk lyrics of the past.

Another new and perhaps haunting song "Talk" with a scorching sound that's techie, metallic, and edgy caught attention.

 "This song's for y'all y'all y'all. Hope you guys like couple skate…” Jaffe said in a sweet and humorous way before a couple of slower songs. She also covered Drake’s "Shut It Down.”

For the cover, Jaffe dropped the instruments. The song was raw, carried by her impressive voice. Her rock version of the folk favorite "Clementine" was smooth, melodic, and well received.

At the end, she invited the opening acts for an all-star performance of the song "Under" from Ever Born Again.

Jaffe showed that she seems to be rising, evolving, and adding depth and breadth to her songwriting. Her use of electronics and cast of impressive musicians add a newness to her sound, while maintaining the same elevating, strong, soulful, and emotive vocals as before.

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Sarah Jaffe performed at The Parish in Austin, Texas on May 4, 2012.

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Concert Review: The Fray at Stubb's

Concert Review: The Fray at Stubb's

Review by Ian Morales. Photos by Kristie Bocanegra.

Every once in a while, like anyone else I suppose, I want to see or hear something different from my usual music playlist. I will tune into FM radio once in a while and check in on what the radio station programmers of the world feel people should listen to. Sometimes I’ll stop and listen and something so poppy and mainstream will catch my ear that I’ll be embarrassed to admit it to my circle of friends, much less write about it publicly. But I want to be free of that “I have to be cool” feeling and admit I like pop music or Top 40 once in a while. I mean…doesn’t everyone have guilty pleasures? Well thanks to less than stellar pop radio in Everywhere, U.S.A. and popular television drama Grey’s Anatomy, I have come to enjoy The Fray over the years. So when I got my first opportunity to see the Denver-based pop-stars at Stubb’s Sunday night, I jumped at the chance.

Opening for The Fray was an indie-folk rock band from Denver, Churchill. They weren’t the pop band I’d expect to see open for The Fray, and I was curious to see how the sold out crowd would react to them. With their acoustic, folk-meets-indie sound, Churchill got some confused but polite looks. Armed with the quintessential long-haired, bearded, flannel-shirt wearing lead singer in Tim Burns and token folk mandolin player Mike Morter, Churchill appeared to be every other indie-folk band I’ve seen before. It wasn’t until Churchill covered Fleetwood Mac’s “Go Your Own Way” that the crowd in front of them sort of just woke up. More favorable responses came when keyboardist Bethany Kelly and Burns sang as a duo on a few songs together. The Burns-Kelly vocal pairing worked well for Churchill and offered a more approachable sound for The Fray’s audience in attendance. Too bad it was good music for the wrong crowd, but I applaud The Fray for bringing along a hometown band to open for them.

Once Churchill finished, The Fray came out after a short set changeover with no intro and immediately began performing “The Fighter” and “Syndicate,” an older song from their self-titled sophomore album. While all were excited to see Isaac Slade (vocals, piano) and company, it was when Slade played the first few notes of their mega-hit “You Found Me” that really set the night off right or so I thought at the time. Early on in the set, Slade introduced guitarist Joe King’s toddler-aged daughter Eva to the crowd. Of course the crowd cheered at the mere site of young Eva but she embellished. After asking the crowd from the top of Slade’s piano if “they were ready,” Eva serenaded everyone with Adele’s “Someone Like You,” or at least a tidbit of it. Loud cheers followed of course. Kudos to The Fray as I have never seen a band do such a thing before.

Shortly thereafter, Slade broke into the next song in the middle of the crowd at Stubb’s to make his way up the side steps that lead to V.I.P and sing from there. Again, not something I expected from an older pop (as in age) pop band. The people loved that interaction almost as they loved The Fray’s popular radio hit like “How To Save A Life.” After an absolutely wonderful and enjoyable set, I wondered what The Fray were going to perform for their encore, which was in demand to say the least judging by the loud cheers and screams.

Coming back out again to “Look After You,” The Fray seemed to have held the attention of most of the audience in attendance. The surprise came when Slade came out with a piano key accordion and began to sing their song “Munich,” only to lead into an Oasis cover of “Wonderwall.” As if that wasn’t enough to win a cool points with the crowd, they closed with their rendition of “Maps” by The Yeah Yeah Yeahs. I was proud but not impressed by that one. Proud because who knew The Fray were into Karen O. and friends. I was not impressed because only Karen O. can pull off that song. I don’t care who you are. Despite what I thought, people cheered and enjoyed themselves. I guess that was all that mattered.

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(The Fray performed a headlining concert at Stubb's in Austin, Texas on April 29, 2012)

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