popwreckoning

It’s taken a long time, but the Postelles are finally releasing their album their eponymous debut album this upcoming Tuesday (June 7). The New York good time rock ‘n’ roll band – comprised of lead singer/guitarist Daniel Balk, lead guitarist David Dargahi, bassist John Speyer, and drummer Billy Cadden – are close friends and this is reflected by the musical harmony heard on The Postelles. Does this sound familiar to you? It should. They consider the Beatles a big influence musically, which should come as no surprise when you listen to the record. Major keys to the Fab Four’s success were excellent songwriting skills, equally excellent musicianship, and enough charm and charisma to send millions of hearts a-flutter. The Postelles already have #1 and #2 in the bag. It’s only a matter of time before #3 becomes a reality for them.

Strong songs and strong music is where The Postelles is at. This is an album that will get your toes tapping and put a smile on your face, because this is a band that excels in crafting the pop tune. It should also be noted that this album was produced by Albert Hammond Jr. of the Strokes, so you know there was good work done behind the scenes. If autotune (um, Kanye West) leaves you cold and you’re tired of style over substance (um, Lady Gaga), than this is the album for you. The most “high-tech” gadgets used on here are the maracas on “She She.” I used to think that this genre of rock was just a throwback to the ‘60s, but giving that label is doing a great disservice to the Postelles. It’s not easy in this day and age to write songs like they did back then. There’s so much pressure these days to use fancy thingamabobs in the studio. Why? Because they are there and you can. But when you’ve got songwriting chops and don’t need all that electronic wizardry, why use it?

The Postelles specialize in straight-forward rock ‘n’ roll: guitars and drums paired with lead vocals, augmented by tight harmonies. Seriously, how often do you go to a gig and not see a Macbook or synthesizer hooked up somewhere? The Postelles don’t need them. Take for example the single they released last year, “White Night.” Balk’s voice slinks up and down the notes effortlessly, with Dargahi’s backing vocals in response and in harmony just sound so sweet. If you’re like me and think Please Please Me was one of the Beatles’ best albums, this should be music to your ears.

And “Sleep on the Dance Floor” (watch the video below), the song that immediately follows “White Night,” is even better. This, along with so many others on the album, has a great singalong chorus. The Postelles want to entertain you, but they also want to engage you. Listen to this a couple times and before you know it, you’ll be crooning “fell asleep…on the dance floorrrrr…” along with Balk. Same goes for “Hey Little Sister,” featuring a rare lead vocal from lead guitarist Dargahi; and “Stella,” Balk telling off a girlfriend, finally leaving her, his bandmates shouting with gusto, “Stella, you’re on your own!”

Most of all, I encourage you to listen to The Postelles closely. The bass line in “Can’t Stand Still” can’t be beat. “Hold On” (acoustic, pared down version above) demonstrates the band’s deftness with the ballad; it’s a good break from the other songs of a pretty brisk pace. And by the way, “brisk pace” and “good-time rock ‘n’ roll” do not mean these guys from New York City are lightweights in the topical sense. A fact-based account of a former girlfriend of Balk and Cadden’s, “Boy’s Best Friend” is the realization that the girl you once went out with has now come out as a lesbian. “Whisper Whisper,” echoing Stephen “Tin Tin” Duffy’s “When You Go to Bed” more than Aerosmith’s “Janie’s Got a Gun,” provides insight into an abusive relationship.

Fifty years ago, the world was infatuated with the Beatles. Now it’s the time the world became infatuated with the Postelles.

The Postelles’ self-titled debut album will be released on July 7 in America on +1 Records. The band will be touring the U.S. and Canada in June and July.

Tracklisting
01. White Night
02. Sleep on the Dance Floor
03. 1, 2, 3 Stop
04. Boy’s Best Friend
05. Can’t Stand Still
06. Hold On
07. Stella
08. Hey Little Sister
09. Whisper Whisper
10. Sound the Alarms
11. Blue Room
12. She She

Tour Dates
Jun 07-08 – Mercury Lounge / New York City
Jun 10 – Kung Fu Necktie / Philadelphia
Jun 11 – Red Palace / Washington, DC
Jun 15-16 – NXNE / Toronto
Jun 17 – Schubas / Chicago
Jun 18 – Summer Soulstice Music Festival / Milwaukee
Jun 20 – Tractor Tavern / Seattle
Jun 23 – Popscene @ Rickshaw Stop / San Francisco
Jun 28 – Echo / Los Angeles
Jul 07 – T.T. the Bear’s / Cambridge, MA

The Postelles: website | myspace | interview with | @ Rock ‘n’ Roll Hotel | The Postelles Premiere First Promo Video, “White Night” | The Postelles Announce Fall North American Tour | @ Red Palace

Buzzed about California band Young The Giant, known for their live shows, which boast arena-sized hooks influences ranging from jazz rhythms to surf pop harmonies, will continue to tour in support of their self-titled debut. The band is pleased to announce that they will provide sole support to Incubus on their late summer tour. Young The Giant will join the tour on the August 30th in Columbus, Ohio, wrapping up on October 9th in San Francisco.

Young The Giant are planning several performances at a series of festivals including KROQ-LA’s Weenie Roast June 4, Live 105’s BFD on June 5, Summerfest in Milwaukee July 5, main stage of Lollapalooza in August and Austin City Limits in September.  Their self-titled debut has been hailed as “vivid, vibrant rock… a pop masterpiece” by Wall Street Journal, while Billboard deemed them “rising stars.”

Below is a complete list of supporting dates with Incubus:

8/30/11 Promowest Pavilion Columbus, OH
8/31/11 AE Stage Pittsburgh, PA
9/1/11 SPAC Saratoga, NY
9/3/11 Jones Beach Theater Wantagh, NY
9/4/11 PNC Bank Arts Center Holmdel, NJ
9/7/11 Mohegan Sun Hartford,CT
9/9/11 Comcast Center Boston, MA
9/10/11 Susquehanna Bank Center Philadelphia, PA
9/11/11 Merriweather Post Pavillion Baltimore, MD
9/13/11 Virginia Beach Amphitheatre Virginia Beach, VA
9/16/11 Verizon Wireless Amphitheatre Charlotte, NC
9/18/11 1-800-ASK-GARY Amphitheatre Tampa, FL
9/20/11 Bayfront Park Amphitheater Miami, FL
9/29/11 Gexa Energy Pavilion Dallas, TX
9/30/11 Cynthia Woods Mitchell Pavilion Houston, TX
10/1/11 The Backyard at Bee Cave Austin, TX
10/5/11 Comerica Theatre Phoenix, AZ
10/7/11 Hollywood Bowl Los Angeles, CA
10/8/11 The Joint at the Hard Rock Las Vegas, NV
10/9/11 Shoreline Amphitheatre San Francisco, CA

For more information, visit www.youngthegiant.com

South Jersey pop-punk band I Call Fives have just announced US tour dates alongside Sparks The Rescue. The tour kicks off in early August and is following the band’s upcoming dates with We Are The Union, Hand Guns, and The Story So Far.

I Call Fives recently found a home on No Sleep Records just four short years after recording their first demo. Since then the band has played countless shows across the US, and have demanded the attention of their fans, genre peers and industry experts.

Dates below are August dates with Sparks The Rescue. For a complete list of dates with We are The Union, Hand Guns, and The Story So Far visit www.facebook.com/icallfives.

8/9 – Covington, KY @ The Mad Hatter
8/10 – Cleveland, OH@ Grog Shop
8/11 – Teaneck, NJ @ Mexicali Live
8/12 – Vineland, NJ @ Hangar 84
8/13 – Hamden, CT @ The Space
8/14 – Boston, MA @ The Middle East

The Get Up Kids have released their third video from new album There Are Rules for song “Regent’s Court.” The video was compiled by director Pat Vamos and can be seen below.

The Get Up Kids have kicked off their summer tour, co-headlining June shows and headlining July shows throughout the Midwest and Northeast. Dates in Australia, New Zealand and Japan in early August will be followed by two Los Angeles-area dates in mid-August, before the band departs for a European tour in the fall.

www.thegetupkids.com

Melissa’s Recap:

Yeasayer singer Chris Keating said he didn’t believe Kansas existed; he thought it was some magical, far away land.

But on June 2, fans gave them a welcome Dorothy would be jealous of – by packing the Granada Theater for the band’s first show in the state.

The one-man freak show known as Hush Hush opened. With his huge beard and gangly limbs, he confidently danced around the stage alone, hitting high notes over smooth R&B beats.

A few songs into his set, it was clear this was not just some weird gimmick – this guy is actually talented, and he seems to be (mostly) serious about his music (minus some incredibly vulgar lyrics that I feel uncomfortable even trying to type out – so I won’t).

And his strange (but awesome) solo act upstaged the second band, the Smith Westerns.

This five piece from Chicago just did not match the energy of Hush Hush and Yeasayer; their breathy vocals and straight-forward melodies fell a bit flat among the other acts. They seemed to sense the more somber vibe from the crowd, dedicating one of their songs to “everyone who’s giving [me] a dirty look right now.”

They may have been only partially serious, but the crowd wasn’t very responsive. Everyone seemed to be anxious and waiting for Yeasayer.

The lights faded as hip-hop blasted through the speakers and Yeasayer calmly took the stage as fans clapped and screamed in excitement. They started with “Madder Red,” one of the more melancholy songs from their latest dance-inducing record, Odd Blood.

Though it was a calmer start than expected, the lights, smoke and their album-quality live performance laid the framework for the rest of the night.

Their hour-long set included a mixture of songs from their debut album, All Hour Cymbals (2007), to Odd Blood to new songs to be featured on their next album – and from this preview, Yeasayer will keep producing incredible ambient pop that’s sure to draw in even more fans.

They also played “Tightrope,” a delay-heavy, slow-moving harmonic song from a compilation album titled Dark Was the Night, easily one of my favorites from the show.

Other highlights included the more poppy singles “O.N.E.” and “Ambling Alp” that got everyone moving wildly – and Yeasayer thanked fans for making this a fun show.

Bethany’s Recap:

“I’m always feeling Yeasayer.” That may be an inside joke with my friends, but it is also a fact of my life. Since I first saw the band all the way in Manchester, Tenn., during Bonnaroo, I’ve been enamored with their live show. I found myself driving to other cities to see them – Chicago, Omaha, and so on. Each time I’ve been dazzled by the lights, my throat left sore from singing along and my feet happily echoing my dance moves from the venue to my car.

But I had yet to see Yeasayer on my home turf. Finally, for the first time, Yeasayer would make it to my humble home of Kansas. We’re notorious for not dancing and not singing here – jaded hipsters standing around with our beers and only giving slight nods if we approve. What would happen with Yeasayer? I guess they were as uncertain about what would happen in Kansas, too. They tweeted this pleasantly surprised statement after the show:

Who knew? When the odd, yet entertaining Hush Hush took to the Granada’s stage, the crowd was small. However, they were excited and many started dancing along with Hush Hush. Hush Hush is a guy in a crazy ensemble and computer, dancing and singing around the stage. The music was a little R&B/synth pop, but honestly, it would probably be unforgettable if it wasn’t for Hush Hush’s stage presence. That guy knew how to work it. With a big beard, cut off shorts and a fancy jacket, the guy danced, jumped and ran around singing his provocative lyrics. He bantered with the audience and as I said, left us entertained, but also scratching our heads in bewilderment.

Just a few months ago, Chicago’s Smith Westerns visited neighbor city Kansas City, but this was their Lawrence debut. The band has been touring heavily behind their 2011 release Dye It Blonde. Despite all the acclaim they’ve received for the album and the buzz around their SXSW performance, the band has kept a modest attitude. Their set was significantly toned down from Hush Hush’s performance, but it was just as engaging. They’re kind of the wild card on this tour because they aren’t dance rock like their tourmates, but instead they perform garage rock. What made the band even more impressive is that they’re also significantly younger than the other bands on the bill – like x’s on the hands young. But their youth only gives them great lyrical fodder about growing up and longing. Their talent with tight writing and sensible h0oks could easily make you suspect them of being veterans of the stage for ages if you were wearing a blindfold. I can’t wait to see what this band continues to produce.

Oh, Yeasayer. I went into this show already knowing that I liked this band. I left the show knowing that I would always love this band. If you’ve never heard their music, they’re a Brooklyn band, but they have a wordly sound. The band describes their sound as “Middle Eastern-psych-snap-gospel.” It’s the type of music that is impossible not to move to – I know I found myself dancing. Three of the guys switch of vocal duties, which only adds to their unique sound enhanced by swirling synth loops and big percussion. I was thrilled to hear “Tightrope” early in the set, a song they contributed to AIDS benefit compilation Dark Was the Night. We all eagerly clapped along to pretty much every song they played and the room was explosive with dancing during “O.N.E.” The band ending out their regular set with the highly-anticipated “Ambling Alp.” After hearing all my favorite singles and plenty of tantalizing new songs (the band is heading back to the studio after this tour finishes), I could have been a happy camper if that was the tune I went home carrying still in my head, but as my friend leaned over and said, “They have to play an encore.” And my friend wasn’t just saying that because now there is an expectation that every band will play an encore, regardless. My friend said that because looking around the venue, everyone was blowing up. I had never seen such hunger for an encore. So with a reaction like that from Lawrence, yes, Yeasayer really would have to play an encore. The group came back out and obliged us with two more fantastic numbers, ending with “2080.” I imagine there were some sore feet after all that dancing.

Yeasayer Set List:
Madder Red
Tightrope
Henrietta
O.N.E.
Devil and the Deed
Mondegreen
Rome
Wait for the Summer
Grizelda
Sunrise
Ambling Alp
///
???
2080

You know those family reunions you hate going to? With the weird cousin that doesn’t talk and the uncle that gets way too drunk and that lady who you’re not even sure how you’re related – just that she married someone in your family at some point in time? The Sasquatch Music Festival is like a family reunion, only in this year’s case, there were 100,000 people that filled the Gorge for the tenth annual festival.

It was for good reason, too. The Foo Fighters headlined the newly-added Friday lineup this last weekend. Sadly enough, being a student, I couldn’t leave the west side of the mountains until about 4:30, putting myself in the worst traffic imaginable. However, the only band I really wanted to see that night was the Foo Fighters anyway, and I got my wish.

But, as I was making my way into the festival, I overheard Death from Above 1979 playing the main stage – quite loudly – and they rocked. I just had to put that out there, because Sasquatch marked the triumphant return from Death from Above.

Friday had by far the most diverse crowd of all the four days. Not only were there kids younger than me, there were people older than my parents on the floor of the main stage. When Dave Grohl introduced a song off their first album “Big Me,” he asked the audience if anyone had seen them tour for the self-titled debut in 1995. One guy up front raised his hand and shouted, and Grohl responded – “I’m with you dude. We’re some old motherfuckers.”

My mother was so jealous of me being there that she made me call her during “My Hero.”

Yeah, so the Foo Fighters are a band for many generations, and even though they have been rocking the stage for over 15 years, I can clearly say that they’re one of the best live bands in the world. They were definitely the best at this year’s festival.

“We decided to have an all-flannel line up front here,” Grohl began as he introduced his band members, mostly clad in plaid flannel shirts. It is the Pacific Northwest, after all. “But one person didn’t wear any flannel, and it’s that fucker back there,” Grohl glared at drummer Taylor Hawkins as his familiar grin lit up the jumbo screen.

The Foo Fighters started at 9:30 on the dot, and ended at almost 11:30 exactly. And not one ounce of energy was lost in those two hours on that glorious Friday night. So many of my favorite songs were brought to life with extra oomph and drawn-out verses that I almost didn’t want to listen to them on the record again. “Times Like These” was beautiful. “The Pretender” was epic. “Breakout” was hilarious, because I’m pretty sure that I was the only person around me singing along to it. It made me feel cool, that I knew the words to every song they played that night. Even though they aren’t my absolute favorite band, I haven’t liked a band longer than I have liked the Foo Fighters. I received One by One as a birthday present when I was in the fourth grade. I’m 22 now. Do the math.

As the Foos played through old classics like “Learn to Fly,” “Monkey Wrench,” big hits like “Best of You” and plenty of new songs off Wasting Light, the Sasquatch adrenaline kicked in and I was ready for the rest of the weekend. But it all came to a fantastic high point when Grohl started strumming the chords to “Everlong.” Several people had been shouting it from behind me that night, and I’d been waiting for it as well.

You see, about a year ago I made a list of bands that I wanted to shoot, a “photo bucket” list of sorts. In this short year, three of those bands have been checked off that list, and the Foo Fighters was definitely near the top of it. And as I stood in the cold wind with sporadic clouds of pot smoke floating above my head and Grohl’s ferocious growl coming through the loud speakers, I felt my eyes well up a bit. Not kidding.

The Foo Fighters skipped the encore all together, as to “maximize set time,” as Grohl said, and stilled filled up two full hours. It was completely surreal, and everyone around me shared the same sentiment. Making our way to the exit, I overheard a couple behind me reflecting on the show.

“That was the best show I’ve ever seen, and I haven’t been to a show since Tool two years ago. That was awesome.”

“But where would Gwar be in that?”

“They’re on a completely different level of awesome.”

“Yeah, you’ve either got blood spit on you, or Dave Grohl. I think this wins.”

I think so too.

Keep on the lookout for recaps from Saturday, Sunday, and Monday coming soon!



Bright’s Passage, the debut novel from renowned singer-songwriter Josh Ritter, will be released June 28 on Dial Press/Random House. Already receiving critical acclaim, Thomas E. Ricks (Fiasco, The Gamble) praises, “After earning his place as one of the most gifted songwriters of our time, Josh Ritter goes off and writes a terrific novel. This is one of the finest first novels to come our way in a long time,” while Dennis Lahane (Mystic River and Shutter Island) heralds, “Josh Ritter is already one of this country’s most accomplished songwriters. Based on the heartbreaking, luminous Bright’s Passage, he may become one of our most accomplished novelists as well.”

As a special preview to fans, the first chapter of the book is currently available for download at www.joshritter.com. A select series of events are planned in support of the novel, including appearances in New York, Washington, D.C., Philadelphia, Boston, Los Angeles, San Francisco, Portland (OR), and Seattle. Ritter will also head out on a small tour this summer, including a series of co-headlining dates with the Old ‘97s as well as appearances at San Francisco’s Outside Lands festival and the DMB Caravan tour.

The novel follows a young, widowed veteran of the First World War, Henry Bright, as he and his infant son, along with an unlikely guardian angel flee from a forest fire and Bright’s cruel in-laws. Shifting between their strange journey through West Virginia’s foothills, Bright’s memories of the trenches of France, and recollections from his childhood, the novel is at times suspenseful, quiet, and often humorous. Known for the storytelling and literary sophistication of his lyrics, Ritter has long explored the idea of writing fiction, but was finally spurred to begin Bright’s Passage after he found a song idea refusing to stay within the bounds of the form. The resulting novel was written over an extended period of time on tour buses, in between shows, and during early mornings at home. In Ritter’s own words, “A story that started as a song is now a world inhabited by characters that are still surprising to me.”

Anthemic. Epic. So incredibly reminiscent of the pop-punk days of the 90′s. I almost called this a guilty pleasure album, but there’s no reason to feel guilty. Balance and Composure’s Separation is just really good and should have come out twelve years ago. It has Kurt Cobain’s dark feelings to it, but pops and rocks like early Jimmy Eat World. Its twelve tracks clock in at around 48 minutes which means it’s initially a big undertaking. But once you give this album the time of day it deserves it becomes very cohesive and works well as a whole.

This might not be your typical summer album, light and happy tunes for your backyard bonfire, but it’s definitely the type to be blasted through car stereos with windows down on a sticky summer night. It packs a punch and provides the angst to scream along with at the top of your lungs.

From the first notes of “Void,” listeners hear the intensity Separation brings. Things start simply with clear  vocals from lead singer Jonathon Simmons, which can range from effortlessly sung to passionately screamed. The intensity of “Void” showcases the dark mood of this entire release and it seems to be a nod towards Balance and Composure’s earlier material which showcased heavier and somewhat darker hooks. Soon afterwards though we see the title track and “Quake” lighten things up with a more pop-punk feel. Simmons picks and chooses when to showcase his vocals, and on these two songs he definitely chose to feature guitar and drums.  ”Stonehands” comes as a welcome moment to catch a breath, while “More To Me” starts as something similar but only for a while. The song takes off with heavy riffs and screaming vocals. No matter how Simmons chooses to sing his songs, the tone of his voice is always exactly what the song calls for: a sign of true musicianship.

Balance and Composure is arguably best when heavy and loud, but maybe that’s my inner angsty teen talking.  ”I Tore You Apart In My Head,” “Fade” and “Patience” are some of my favorites and they’re the rockers of the album. Regardless, Separation has something for everyone and Balance and Composure fans both new and old can appreciate the variety of this album. I look forward to what the band puts out next.

Track listing:

1 Void
2 Separation
3 Quake
4 Stonehands
5 I Tore You Apart In My Head
6 Galena
7 Fade
8 Progress, Progress
9 More To Me
10 Echo
11 Patience
12 Defeat The Low

Two of punk rock’s rising stars and label-mates La Dispute and Balance and Composure, have announced plans to tour select cities in Ontario and Quebec, Canada with friends Make Do And Mend this summer.

The dates are in support of the bands’ recently released and forthcoming material on No Sleep Records, including La Dispute’s recent split EP with Koji and sophomore full-length album due out later this Fall, as well as Balance and Composure’s debut full-length album, Separation.

La Dispute w/ Balance and Composure and Make Do And Mend

July 05, 2011 London Music Hall London, ON
July 06, 2011 Mavericks Ottawa, ON
July 07, 2011 Underworld Montréal, QC
July 08, 2011 L’App-Art Trois-Rivières, QC
July 09, 2011 Café L’ Agitée Quebec City, QC
July 10, 2011 Bar Le Magog Sherbrooke, QC
July 12, 2011 Millard’s Garage Sudbury, ON
July 13, 2011 Mansion Nightclub Barrie, ON
July 14, 2011 The Mansion House St Catherines, ON
July 15, 2011 Time To Laugh Kingston, ON
July 16, 2011 Mod Club Toronto, ON

For more information check out www.ladisputemusic.com and www.balanceandcomposure.com

After completing a successful headlining tour in support of their most recent album Real Ghosts Caught On Tape, Fake Problems have announced plans to hit the road with Hellogoodbye, as well as a co-headlining tour with The Swellers. Fake Problems have developed into one of today’s most exciting acts and will undeniably see them continue to attract new music fans who are looking for something fresh that maintains a complete sense of originality.

Be sure to catch them at one of the numerous summer dates below:
Hellogoodbye, Fake Problems, Fences, A Great Big Pile of Leaves

7/12 – St. Louis, MO @ The Firebird
7/13 – Nashville, TN @ Rocketown
7/14 – Knoxville, TN @ Bijou Theatre
7/15 – Birmingham, AL @ WorkPlay Theatre
7/16 – Louisville, KY @ The Vernon Club
7/17 – Milwaukee, WI @ The Rave II
7/18 – Urbana, IL @ The Canopy Club
7/19 – Des Moines, IA @ Vaudeville Mews
7/20 – Omaha, NE @ The Waiting Room
Fake Problems, The Swellers, Daytrader

7/22 – Dekalb, IL @ The House Cafe
7/23 – Kalamazoo, MI @ The Strutt
7/24 – Toledo, OH @ Frankie’s
7/26 – Covington, KY @ The Mad Hatter
7/27 – Akron, OH @ Musica
7/28 – Altoona, PA @ The Club Car Cafe
7/29 – Buffalo, NY @ Mohawk Place
7/30 – Poughkeepsie, NY @ The Loft at the Chance
7/31 – South Burlington, VT @ Higher Ground Lounge
8/2 – Providence, RI @ Club Hell
8/3 – Hoboken, NJ @ Maxwell’s
8/4 – Manchester, NH @ Rocko’s
8/5 – Hamden, CT @ The Space
8/6 – Jermyn, PA @ Eleanor Rigby’s
8/7 – Asbury Park, NJ @ Asbury Lanes
8/8 – Washington, DC @ The Red Palace
8/9 – Richmond, VA @ The Camel
8/10 – Pittsburgh, PA @ Smiling Moose
8/11 – Detroit, MI @ Majestic Theatre

For information visit www.sideonedummy.com/bands/fake-problems