If you ever need a reminder of how incredibly valuable location and hype are to a band's success, take a look at Vivian Girls. When the New York City-based outfit bubbled up in the Indie Rock world in late 2007, they were greeted with buzz and excitement. That early positive push was crucial to giving them a solid fan base as they got used to being a band.
It's been 26 years since the Nintendo Entertainment System came to North America, accomplishing the kind of colossal feats that few products do. In another example of how profound the Nintendo's impact was, a thriving subculture is still dedicated to tapping into the machine’s rudimentary sonic palette to make new Electronic music compositions. Chiptune (aka Chip Music) existed before the NES, but today the genre is predominantly associated with that console.
Three-year-old San Francisco group Young Prisms submerses their melodies in barrels of reverb, creating something gorgeously indistinct. With good reason, the Prisms receive frequent comparisons to Shoegaze pioneers My Bloody Valentine in the press. In the future, the group plans on digging deeper into both the experimental Shoegaze and more conventionally melodic angles.
In the “Genre” section of their Facebook page, Young Prisms shout their answer in caps-lock: “SHOEGAZE.” It’s nothing new for bands to skewer the concept of embracing or self-identifying with genres (comb through MySpace for a couple of hours and you’ll lose track of how many bands think that listing themselves as “Christian Rap” or “Ghettotech” is gut-bustingly funny), but in Young Prisms’ case, the line between truth and gag is terribly blurry.
At first blush, Dan “Soupy” Campbell's lyrics and Charles Bukowski's poetry and prose have a whole lot of nothing in common. In The Wonder Years, Campbell backs up buoyant Melodic Hardcore/Pop Punk with defiantly upbeat verse, coping with trials, travels and tribulations by maintaining a silver lining mentality. Bukowski, on the other hand, was a downtrodden cur of a writer, providing one unflinching look at his fucked-up reality after another.
At first blush, Dan “Soupy" Campbell's lyrics and Charles Bukowski's poetry and prose have a whole lot of nothing in common. In The Wonder Years, Campbell backs up buoyant Melodic Hardcore/Pop Punk with defiantly upbeat verse, coping with trials, travels and tribulations by maintaining a silver lining mentality. Finding similarities between the two seems impossible until Campbell explains what he enjoys about Bukowski.
Currently, there are only a handful of interviews and reviews dedicated to Sleeper Agent, yet the positive vibes they've been reeling in (one of the top guys at Spin magazine's website deemed them his “Best Discovery” at South By Southwest) mean that there's bound to be more details soon. Let's get acquainted with them before the whole world does.
Forming in 2008 in Bowling Green, Ky.— the same locale as buddies and tour-mates Cage the Elephant — Sleeper Agent is a five-piece playing spirited, Garage-tinted AltRock, sounding like a genial combo of Cage, Band of Horses, The White Stripes and occasionally Red Hot Chili Peppers. Currently, there are only a handful of interviews and reviews dedicated to the group, yet the positive vibes they've been reeling in mean that there's bound to be more details soon.
Assembled by players from a plethora of rising Columbus outfits (Couch Forts, Bird and Flower, Beard of Stars, etc.), Super Desserts features 11 stable members and several others coming in and out based on circumstances. The hefty number of instruments the band utilizes enhances the semi-supergroup feel, with banjo, sitar, clarinet, tambourine, cello, saxophone, glockenspiel and other items coming into play.
Relentless aggression is crucial to Ender's MO. The New Jersey five-piece's debut is called This is Revenge; they play a vindictive cross between Metal and Hardcore; and its merch sports slogans like "Break Shit," "Payback's A Bitch" and "Ruin Somebody's Fucking Day." Last September, its hostile approach came into question when a promoter in Allenstown, N.H., pulled Ender from a bill because, as he allegedly said, his venue didn't "book bands that promote violence, hate, revenge, killing, etc."