Press Releases Archives - Page 93 of 153

June 22, 2022

Oakland-based singer-songwriter HELLCAT BLOOM Releases First Single Video “Malibu” From Her Debut EP Semi-Sweet Out August 19

DATE: JUNE 22, 2022

FROM: MARCEE RONDAN

HELLCAT BLOOM
TO RELEASE ‘SEMI-SWEET’
SEVEN-SONG EP
AUGUST 19 ON pOprOck
TRACK INCLUDED ON BANDCAMP’S
JUNETEENTH (JUNE 17) FUNDRAISER

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Description automatically generated Photo credit: Arrica Rose

HELLCAT BLOOM, the pseudonym of Oakland-based singer-songwriter Alex Avritch, is set to release her seven-song debut EP SEMI-SWEET August 19 on pOprOck Records. The EP was previewed by the single and video for the laid-back, nostalgic heartbreak of the first track “Malibu.” Watch the “Malibu” video here and listen to the song here.

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Description automatically generated with medium confidence Still from “Malibu” music video

The “Malibu” single was recently included in Bandcamp’s third annual Juneteenth (June 17) fundraiser (whereby they donated 100% of their share of sales to the NAACP Legal Defense Fund to support their ongoing efforts to promote racial justice through litigation, advocacy, and public education). Beyond Bandcamp’s donation, HELLCAT BLOOM also donated a portion of the proceeds earned that day via her Bandcamp page.

HELLCAT BLOOM TALKS ABOUT HER FIRST SINGLE

“MALIBU”

There are many songs with “Malibu” in the title, what was the inspiration for your song?

I like to think there are so many songs named after the city because Malibu holds a certain magical quality that breeds endless inspiration. Especially for someone who grew up in the valley. It was the backdrop of so many formative moments growing up. More specifically, the moments I fell in love.

As for what inspired my particular Malibu, it’s heartbreak. It’s about how you never think something or someone so precious to you can let you down or break your heart, and how deeply it hurts when they do. This person, much like Malibu, had an irresistible quality about them that was intoxicating. So much so that it was easy to look past the cracks in the facade. This song is all about taking off the rose-colored glasses and realizing it was time to say goodbye to this “place” I had called home for so long.

The artsy, multi-colored clip invokes the beach theme in a less obvious fashion. What was the creative reason behind this?

Though the song is lyrically built around a Malibu beach backdrop, we really wanted the visuals to embody the emotions behind the motif. Much like waves, love and loss can feel both turbulent and absolutely still. The video will switch from a wash of overlapping, psychedelic patterns to ethereal hues in the matter of seconds. This uncertainty of what’s to come next, while remaining at the forefront of heartache, is what Malibu is all about.

You’re shown in split, multi-screen and swirling images throughout the clip–what inspired this?

A lot of the visuals for this video were inspired by the retro use of split screen to capture simultaneous states of being as well as psychedelic imagery to convey the vivid spaces one finds themself in while going through various stages of heartbreak. In a single moment, you’re sifting through the pieces of sadness, anger, relief etc. That feeling of fragmentation was an extremely important piece of the story.

SEMI-SWEET’s seven songs were written alongside collaborator Arrica Rose; it was recorded at Comp-ny in Los Angeles (Be Hussey engineering) and O2 and The Tree House in Oakland (Arrica Rose engineering). It was mixed and mastered by Dan Garcia at Radio Hill Santa Monica. HELLCAT BLOOM features Alex Avritch on vocals and songwriting duties; producer/co-writer Arrica Rose rhythm guitars, backing vocals, synths, and loops; Marc Thomas on lead guitars; Mark W. Lynn on bass; and Ryan Brown on drums and percussion.

The tracks on HELLCAT BLOOM’s elegantly crafted debut EP pull in elements from 60s girl groups, 90s indie-rock, and modern-day electropop, all wrapped up in a sheen of analog warmth. While the sound is ambitious and confident in its scope, it draws listeners close with the intimacy of lo-fi bedroom folk. Always at the forefront are nuanced lyrics that express the complicated emotions of a passionate love affair as it comes apart at the seams, captured in clever retorts and evocative scenes. Eclectic yet cohesive, melancholy yet carefree, bitter and sweet, the EP is an expression of worlds and sounds gently colliding—from the indie rock anthem “Love Is Strange,” to the sultry, noir slow burner, “Valley Eyes.” The EP is anchored by HELLCAT BLOOM’s lilting vocals that belie the lyrics’ harsh honesty. As every breakup contains both roses and thorns, even the darkest songs are dressed up sweetly in ethereal synths and hypnotic loops, paired with live drums and dreamy guitars.

HELLCAT BLOOM’s creative output revels in the dichotomy that’s true of most romantic relationships, art, and life itself. “I like to say we’re all multi-faceted human beings, and we aren’t just one thing, within a single moment, day, or year,” HELLCAT BLOOM says. “This music is a little bit old school, a little bit new, a nod to this, a nod to that. It’s almost like it’s built from all these perfect fragments of myself and Arrica that came together in this salty but sweet goodness that is the project.”

In the end, HELLCAT BLOOM knew when the project was fully realized, not because of a particular sonic moment or song, but because of the beautiful-but-complex whole. Always, with every lyric, every note, she’s aiming not just to entice listeners, but to move them. If it sounds like HELLCAT BLOOM is asking herself the big questions about art and life, she is. Not only because of her need to express herself through her music, but because of her desire to grow into an artist who can, in turn, be an inspiration for the next generation “It’s important to me in all facets of my life to carve a path for other creators of color, who want to be in the tech space, in the makeup space, in music,” she says. “While finding my own way, I want to make sure I’m doing my part to bring up as many seats at the table as I possibly can.”

Canadian Producer AVIRA Reimagines LIVE’S 1994 Hit “Lightning Crashes”; Released Today

DT: JUNE 17, 2022

FM: MITCH SCHNEIDER/ANDREA FAULK

CANADIAN PRODUCER AVIRA
REIMAGINES LIVE’S 1994 HIT ‘LIGHTNING CRASHES’
LISTEN HERE

In the past few years, AVIRA has built quite the reputation when it comes to remixing classic songs. Having already put his hand to The Alan Parsons Project’s “Sirius” (with Armin van Buuren) as well as timeless dance tracks such as “Communication” (by Armin van Buuren), “Silence” (by Delerium), “Strange World” by (M.I.K.E. Push) and “Saltwater” (by Chicane), the Canadian DJ and producer has now joined forces with multi-platinum rock band LIVE for an incredible reimagining of their self-written 1994 smash hit “Lightning Crashes.” The song has been released today (June 17) by Armada Music.

Listen to LIVE x AVIRA – Lightning Crashes

Marking the multi-platinum band’s biggest single (#1 at Modern Rock radio for ten consecutive weeks) and one of the most aclaimed songs of the modern rock era, “Lightning Crashes” has now been pushed into an electronic dimension. With subtle chord plucks, droning bass, freshly recorded vocals–by LIVE’s lead singer Ed Kowalczyk–and lyrics that narrate the circle of life, this brilliant take on the globally beloved rock classic will resonate with listeners across genres and stylistic preference.

“When I was growing up in Toronto, I always felt like dance music had a bad reputation,” AVIRA reminisces (*see a full Q&A below with both artists*). “I knew that only small circles were into it, but almost everyone listened to rock, hip-hop and Top 40. ‘Lightning Crashes’ is one of those records that is universally understood as a masterpiece, and I immediately saw the opportunity to bring that legendary rock radio sound to the dance space, hopefully opening the eyes of many to dance music!”

“I had been getting inspired and actually talked about working or wanting to do some experimenting in the EDM/trance space when this email and scratch demo from AVIRA came in.” Ed Kowalczyk says. “I was excited to hear it because of the synchronicity of how it unfolded for me personally, and my excitement only grew after I popped it up on the speakers! My initial thought was how protective AVIRA’s version was of the original; I could tell he really cared about the song and wasn’t just throwing a beat to it. My second thought was for the minimalistic but super-powerful counter melodies he composed that felt like emotional and spiritual exclamation points on my lyrics. As good as the original version is for its raw energy and rock-and-roll vitality, AVIRA’s production and its sophisticated, modern and soulful depth immediately felt like the next chapter for the song to me.”

“Ed’s performance on this new recording sent chills down my spine,”AVIRA adds. “I wanted to make this feel like an epic homage to LIVE’s original and show a new generation of listeners what dance music can be all about. I’m forever grateful that Ed was involved in making my dreams come true.”

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Ed Kowalcyzk + AVIRA Q&A – ‘Lightning Crashes’

ED:

•As the writer and singer of “Lightning Crashes,” certainly one of the biggest songs of the alternative rock era, what were your initial thoughts when you heard that AVIRA created an electro remix of the song?

I had been getting inspired and actually talked about working or wanting to do some experimenting in the EDM/trance space when this email and scratch demo from AVIRA came in. I was excited to hear it because of the synchronicity of how it unfolded for me personally, and my excitement only grew after I popped it up on the speakers! My initial thought was how protective AVIRA’s version was of the original; I could tell he really cared about the song and wasn’t just throwing a beat to it. My second thought was for the minimalistic but super-powerful counter melodies he composed that felt like emotional and spiritual exclamation points on my lyrics. As good as the original version is for its raw energy and rock-and-roll vitality, AVIRA’s production and its sophisticated, modern and soulful depth immediately felt like the next chapter for the song to me.

•What inspired you to actually go into the studio and re-record the song for this new version?

When I first heard AVIRA’s demo, he used the original vocal as a scratch to give me the idea of his direction. It was understood that I would need to record a new lead vocal as the old one wouldn’t work for technical reasons. It had been four years since I had been in a recording booth to sing anything let alone recreate my most famous vocal performance of a song that I wrote almost thirty years ago! I had to step up!

•Can you tell us what it was like to re-record the song for another musical genre and any challenges this may have posed for you?

What struck me immediately as I got up to the mic to sing this new version, was how natural it felt to sing it, even at a totally different tempo. I’m gonna say it; it was just easy…so wonderfully easy. The vocal flowed out of me like no time had passed at all since I first uttered the lyrics to myself over an acoustic guitar all those years ago. I had so much fun singing it again but did I get it right? Would it hold up to the original that so many people have heard and loved all this time? After one of the takes, I got my answer when I overheard our producer, Ken Lewis, lean into his colleague Brent Kolatalo and whisper “I love my job.”

•What are your thoughts about the finished version of the track?

The finished version of the track is just totally beautiful on every level. Everyone who worked on this are high caliber pros who care deeply about music. I was honored to be a part of it.

•“Lighting Crashes” is definitely one of LIVE’s signature songs and certainly a highlight of the band’s LIVE show. Why do you think this song initially resonated with audiences and why does it still have power when you sing it onstage?

“Lightning Crashes” achieves that alchemy of lyric and melody that allows a particular idea to find resonance at a deeper level than usual. To me, the lyric confronts what the melody, in turn, accepts and celebrates. In other words, it has it all.

AVIRA:

•What is it about the song “Lighting Crashes” that inspired you to do an electronic remix of it?

When I was growing up in Toronto, I always felt like dance music had a bad reputation I knew that only small circles were into it, but almost everyone listened to rock, hip-hop and Top 40. “Lightning Crashes” is one of those records that is universally understood as a masterpiece, and I immediately saw the opportunity to bring that legendary rock radio sound to the dance space, hopefully opening the eyes of many to dance music!

•How did you react when you learned that ED liked the remix so much that he wanted to record new vocals for it?

I was honestly blown away by Ed’s response. Having the approval and involvement of someone like Ed gives me hope that I’m not crazy, that maybe the gap between rock and dance can be bridged in 2022.

•Can you talk about how you feel ED’s new vocals kick this remix up to a whole other level?

Ed’s performance on this new recording sent chills down my spine. I wanted to make this feel like an epic homage to LIVE’s original and show a new generation of listeners what dance music can be all about. I’m forever grateful that Ed was involved in making my dreams come true.

•Was there a particular challenge in taking an alternative-rock song like “Lighting Crashes” into a completely different genre?

I think the pressure I put on myself to pay huge respect to LIVE and entice new listeners was my biggest hurdle. I didn’t allow myself to second guess what I’m doing, instead focusing on doing what came naturally.

•Growing up, did you have a particular connection to “Lighting Crashes” and have you seen LIVE perform it in concert?

Being a 90’s kid, I’d always rummage through my brother and sister’s tapes and CDs. One day I came across Throwing Copper and to be honest it was the crazy artwork that made me pop it in! For what seemed like forever I was obsessed with it. I grew up in Egypt, where rock wasn’t really too popular, so it was quickly forgotten. Fast forward to now, one of my best friends (A&R executive Tanner Wilfong, who grew up in PA) mentioned the song to me and we both had a meltdown talking about our memories with it. Since that moment, we’ve been obsessed and that’s how this whole thing started.

About +LIVE+

+LIVE+, the multi-platinum band from Pennsylvania–Ed Kowalczyk (vocals, guitar), Chad Taylor (guitar, backing vocals), Patrick Dahlheimer (bass) and Chad Gracey (drums, percussion)–have sold over 22 million albums worldwide and earned two number one albums (‘Throwing Copper’, ‘Secret Samadhi’). Their catalog is filled with such gems as “Lightning Crashes,” “I Alone,” “All Over You,” and “Lakini’s Juice,” which live on today as classics on rock radio. Throwing Copper—which the band celebrated in 2019 with a new deluxe 25^th anniversary edition via Radioactive/Geffen/Ume along with a global tour across major festivals, amphitheaters and arenas–produced the band’s biggest single, ‘Lightning Crashes,’ which was #1 at Modern Rock radio for ten consecutive weeks. ‘Throwing Copper’ reached #1 on the Billboard Top 200 and eventually surpassed sales of 10 million albums sold, with Rolling Stone honoring the album with placement on their list, “1994: The 40 Best Records From Mainstream Alternative’s Greatest Year.” Secret Samadhi (1997) immediately shot to #1 on the Billboard Top 200 and eventually went double platinum. The release of the platinum-selling “The Distance to Here” (1999) turned +LIVE+ into an international powerhouse and moved the band from arenas into stadiums. +LIVE+ has been and remains today a global concert juggernaut. The band released an acclaimed five-song EP in 2018–LOCAL 717, their first new music in over a decade–and will be recording new music soon.

For more information on +LIVE+, visit:
WEBSITE | FACEBOOK | TWITTER | INSTAGRAM

For press inquiries, contact:

SRO PR
Mitch Schneider // mschneider@sropr.com
Andrea Faulk // afaulk@sropr.com

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June 16, 2022

Active Rockers PISTOLS AT DAWN Announce Debut Album ‘ASCENSION’ out 8/19 via Megaforce/MRI, Release “The Truth” Music Video

DT: JUNE 16, 2022

FM: KELLY WALSH / SRO PR

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ATLANTA-BASED ACTIVE ROCK GROUP
PISTOLS AT DAWN
ANNOUNCE DEBUT STUDIO ALBUM
‘ASCENSION’
DUE AUGUST 19
VIA MEGAFORCE/MRI ENTERTAINMENT

BAND REVEAL MUSIC VIDEO FOR THOUGHT-PROVOKING
DEBUT RADIO SINGLE
“THE TRUTH”
AVAILABLE ON DIGITAL PLATFORMS TOMORROW, JUNE 17

WATCH HERE | PRE-SAVE HERE

Credit: Michael Mueller/ M3 Creative
l-r: Cris Hodges (vocals), Adam Jaffe (drums), Billy Sullivan (bass), Devin White (guitar)
[not pictured: Tommy Richardson (guitar)]

Atlanta, GA-based group PISTOLS AT DAWN deliver hard-hitting hooks, magnetic melodies and intricate instrumentation with old school arena-size ambition on their debut studio album ASCENSION due August 19 via Megaforce/MRI Entertainment. After independently amassing over 6 million streams across streaming and video platforms via previously released singles from their debut 2021 EP NOCTURNAL YOUTH, PISTOLS AT DAWN returned to the studio to work with Grammy Award-winning producer and engineer Sylvia Massy (Tool, System Of A Down, Johnny Cash) on the new release. “Pistols at Dawn is bright, modern, driving aggression with a halo of vintage darkness,” says MASSY. “Angular guitars and other-worldly vocals crown the super-human strength of these tracks, yet lyrically they describe a fragile earth-bound mortality. Pistols at Dawn are poised to roar into a post-isolation world.”

PISTOLS AT DAWN have today (6/16) debuted the riveting music video for the album’s first single “The Truth,” which introduces new vocalist CRIS HODGES who also fronts In The End: The Premiere Linkin Park Experience and has written music for several blockbuster movies including ‘Top Gun: Maverick’ and ‘Baywatch.’ Watch “The Truth” music video streaming below or HERE. “The Truth” nods to nineties alternative with a distinct and dynamic twist. It’s scheduled for release this Friday, June 17 across all digital platforms; pre-save it at ffm.to/padthetruth.

“‘The Truth’ revolves the around the constant noise we have in our head pushing and pulling our emotions so much that we sometimes lose total control and explode,” explains drummer ADAM JAFFE. “We have to be careful to maintain our thoughts and emotions, or ‘The Truth’ is that they could ‘tear us apart.’ The inspiration behind the music video was to show the constant emotional pinball game our minds play on us privately, coupled with the explosive reality of what can happen if we are truly triggered into chaos.”

JAFFE further remarks on adding HODGES to the lineup: “Cris Hodges joining PAD can only be equated to what it must have felt like when Taylor Hakwins joined Foo Fighters or Grohl joined Nirvana. From our very first hour-long conversation to our very first rehearsal and video shoot, it just felt like it was and is meant to be. Cris is an elite front man with vocal abilities sent from the gods. Our guitarist Devin said it best, ‘it feels like home now.’”

PISTOLS AT DAWN – “The Truth” Official Music Video

PISTOLS AT DAWN—ADAM JAFFE [drums], DEVIN WHITE [guitar], BILLY SULLIVAN [bass], TOMMY RICHARDSON [guitar] and CRIS HODGES [vocals]–were originally formed in 2015 but disintegrated after the tragic passing of guitarist Mike Buffa in 2018. They reformed in 2019 before releasing NOCTURNAL YOUTH in 2021 which was recorded with Jeff Tomei (Smashing Pumpkins, Matchbox 20). With live music at a halt due to the global pandemic, the band engaged fans worldwide with an immersive online campaign for the EP’s singles “Cold” “Voices,” “Crown,” and “Now Is The Time” which exploded with over 2 million Spotify streams and 6 million video streams combined.

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ASCENSION Track Listing
1. Under The Surface
2. Fly
3. Keep Me Guessing
4. For You
5. The Truth
6. Gravity
7. Get Away
8. Dictator

Find PISTOLS AT DAWN online:
FACEBOOK | INSTAGRAM | WEBSITE

PR ASSETS: http://sropr.com/portfolio/pistols-at-dawn/

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For press opportunities, please contact:
SRO PR
Kelly Walsh – kwalsh@sropr.com

For radio inquiries, please contact:
CO5
Ken Pittman – ken@co5music.com
Todd Sievers – todd@co5music.com

For all other inquiries, please contact:
TLG Entertainment
Denny Sanders – denny@tlgent.com

June 13, 2022

JOE PERRY Sets Three Solo July Performances For The Joe Perry Project

DATE: JUNE 13, 2022

FROM: MARCEE RONDAN/MITCH SCHNEIDER

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JOE PERRY
SETS THREE SOLO JULY PERFORMANCES FOR
THE JOE PERRY PROJECT
INCLUDING A HOMETOWN SHOW
IN BOSTON

Legendary AEROSMITH guitarist and songwriter JOE PERRY has confirmed three Northeast solo gigs in July for THE JOE PERRY PROJECT: Thursday July 21 at Hampton Beach Casino (Hampton, NH); Friday, July 22 at Leader Bank Pavilion (Boston, MA); and Saturday, July 23 at the Atlantic City Hard Rock Casino (Atlantic City, NJ). These performances mark the first solo shows for PERRY in more than four years (around the release of his 2018 SWEETZERLAND MANIFESTO album).

A person playing a guitar Description automatically generated with medium confidence Photo credit: Aaron Hirsch

“Since my schedule has freed up and we have a slot of time to play some shows, I wanted to jump on that opportunity,” JOE PERRY says. “Aside from the obvious, terrible effects the pandemic brought with it, I missed being on the road. However, it is actually the first time that myself and my wife Billie were able to sleep in our own bed for this long of a period without having to think about packing our bags. So it has been a new experience for us. Now, I’m really excited to do these shows, especially with this lineup of The Joe Perry Project: Buck Johnson on keyboards (Aerosmith, Doobie Brothers, Hollywood Vampires), Joe Pet on drums (one of the original members of the Joe Perry Project), Chris Wyse on bass guitar (Hollywood Vampires, The Cult and Ozzy Osbourne) and the incredible Gary Cherone on vocals.”

The Rock and Roll Hall of Fame inductee continues, “The setlist will have a couple of new songs, a couple of my other solo songs, and a couple of Aerosmith songs that Aerosmith usually doesn’t play, and everything in between, lol…”

“I am also releasing another solo album on vinyl called Sweetzerland Manifesto MKII later this year, so it seemed like the perfect opportunity to get some of the new songs out there. And since people will probably be sharing the new tracks on social media, the two new songs from the set—which I recorded in London with my sons Roman and Tony–are “Quake,” with vocal by Gary Cherone and “Fortunate One” which features Chris Robinson. The new album will also include a couple of songs from the first release (Sweetzerland Manifesto), some of which weren’t ready to go on that initial record.”

Following these shows, PERRY will return to his Aerosmith commitments. “We are gearing up to celebrate the 50^th anniversary of the band and will definitely have some incredible forgotten treasures for our fans that we found deep-diving into the vaults and there’s a lot more to come! On the live side, we can’t wait to get back on the stage together! We have a special date in Maine in September and our big 50^th anniversary show at home at Fenway [Boston] before we head back to Vegas for the two residencies.”

DATE VENUE CITY

Thurs, July 21 Hampton Beach Casino Hampton, NH
**Fri, July 22 Leader Bank Pavilion Boston, MA
Sat, July 23 Atlantic City Hard Rock Casino Atlantic City, NJ

**Special guest with ZZ Top

For more information, visit:

joeperry.com
http://facebook.com/OfficialJoePerry
twitter.com/joeperry
https://www.instagram.com/joeperryofficial/

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June 9, 2022

NYC Rocker LORNE BEHRMAN Today Shares “A Little Midnight”—First Single And Video From Upcoming Debut Album (Out 9/16)

DT: JUNE 9, 2022

FM: MITCH SCHNEIDER/ANDREA FAULK/SRO PR

LORNE BEHRMAN
TODAY SHARES “A LITTLE MIDNIGHT,”
FIRST SINGLE AND VIDEO FROM
UPCOMING DEBUT ALBUM OF THE SAME NAME
OUT SEPTEMBER 16 ON SPAGHETTY TOWN RECORDS
WATCH THE “A LITTLE MIDNIGHT” VIDEO HERE
AND READ A NEW Q&A BELOW

Lorne Behrman; Photo credit: Katherine Ward
(Download)

Coming off his acclaimed 2021 four-song EP When I Hit The Floor–which prompted the esteemed Jesse Malin to praise it as “Real blood and guts rock and roll that bleeds with soul and redemption”–NYC punk rock n’ roll singer-songwriter-guitarist LORNE BEHRMAN today (June 9) shares the video for “A Little Midnight.” It’s the first single (out digitally this Friday, June 10) from his debut album of the same name, available September 16 on Spaghetty Town Records. Watch the video, directed by David J Barron, here and read a new Q&A below. It was premiered yesterday (June 8) by Glide which noted that the song “features a blackened riff howl of punk bands like The Damned and The Gun Club mixed with pop sensibilities of The Replacements. When Behrman sings “A little midnight/ it’s alright/A little midnight/does you right,” listeners get a gracious sense of rock and roll escapism at its most pure form.”

The “A Little Midnight” single is a slice of dirty rock n’ roll scrapped off of the streets of the Bowery with an introspective heart from the artist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things. “The moonlight looks on good you/Not darkness just silver blue/A little midnight/it’s alright/A little midnight/does you right,” sings LORNE on the song.

A LITTLE MIDNIGHT is a 10-song collection is a series of New York City vignettes haunted by shadows but guided by light. The words here are literate and lacerating, recalling the street poetics of Lou Reed, Richard Hell, and Television. The songs feature stark and fluid guitar playing in the spirit of The Stooges’ James Williamson, Johnny Thunders, and Lou Reed.

“This album is about struggling to be reborn,” LORNE shares. “Wanting to run back to the arms of toxic people or the patterns of self-destruction. It’s about clawing your way to a new existence while acknowledging all the causalities, and all you’re letting go. You glimpse a new life, but you don’t feel it yet.”

The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). A LITTLE MIDNIGHT was mastered by Grammy-nominated engineer Joe Lambert. Wyldlife bassist Spencer Alexander designed the album artwork, and it is a subtly playful homage to the cover of Tom Petty and the Heartbreakers’ Damn the Torpedoes.

The track listing for A LITTLE MIDNIGHT is:

01 – Love Stumbles By
02 – Harlem River Serenade
03 – I Can Burn You Down
04 – Monday Morning
05 – Well, I Can’t Hold You
06 – A Little Midnight
07 – You Wont Live In This Past
08 – I Hope The Sun Doesn’t Catch Us
09 – Black Cars
10 – Further On Down The Road

“A Little Midnight” Single Cover Art
(Download)

Q&A with LORNE BEHRMAN ABOUT THE SONG + VIDEO
“A LITTLE MIDNIGHT”

–What inspired you to write “A Little Midnight,” which is also the title of your upcoming album, and release it as the first single? It’s a punchy and upbeat song, with your angular guitar work and almost conversationally delivered vocals. It also possesses the lyrical urgency you’re becoming known for.

It came down to me having a bad day where a lot of normal but challenging life things were stacking up. I was nervous about paying bills. I had taken my cat to the vet, it looked like she was really sick, and I was waiting on results. And someone in my family was struggling with some serious mental health issues. I felt overwhelmed. When I feel that way, I want to escape from it all. But I couldn’t—it’s real life; it’s being an adult. I was so worried and I sat on the couch and picked up my guitar and sang and played that opening line, “I don’t want to run away again/my problems like feathers in the wind.” It gave me a lot of comfort—like a punk rock n’ roll lullaby to ease my fears. A lot of times the problems we have in life seem more manageable on the other side of the day. Like hang on for a bit, the strength and wisdom to deal with your problems will come.

My decision to release it first was that I feel like it set the tone for the album which is hope. It’s a personal and candid album about my life, but there is an optimism and warmth there, even in the sadness and aggressive parts of the music. There’s always, always hope in my music. Always.

–When you sing the lines, “Cracked sidewalk/crooked roots/Shoot up till you fade away,” are you writing about your own experiences?

That was a poetic image on my street. A tree coming up at an angle from the sidewalk and cracking the sidewalk, and next to it on the ground, a hypodermic needle. The image was just really metaphorically powerful.

–The song clocks in at 1:47 seconds. How do you feel that short length benefits the song?

I love the idea of a little dose of strength or a quick jolt into resilience. The thought being, maybe someone is having a hard time, and they can take less than two minutes and “A Little Midnight” will reset them and make them feel better. For me, punk rock always made me feel better quickly. When it’s the right song, you only need to hear a small amount of it to feel centered, hence, the lyric A little midnight/ it’s alright/A little midnight it does you right.

–As with the EP, the upcoming album was produced by Matt Chiaravalle. Can you talk about why you feel his production style is the perfect fit for your songs?

The main thing is I trust Matt. He will tell me when something is up to par, or if a song needs something else, or if I am missing the mark. He’s honest, blunt, but also says things in a way that makes you feel like you can achieve the ideal he sees. Matt is also really eclectic and can reverently realize lots of different musical visions. We can nerd out about Motown, guitarist Robert Quine, 1990s punk, the Stones, Dylan, the Cure, Television, Lou Reed, and he knows the ins and outs of those classic records. In addition to being a great producer, he’s also a great engineer. He gets great tones, can coax great performances out of musicians, and he’s fast in the studio. He’s also hilarious, and I find myself laughing about things we talk about in the studio for weeks after a session. Matt doesn’t give a lot of compliments, and when he says he likes something or a song is good it’s for real. I admire his honesty. He brought out the best in me, and I am so grateful.

–For the video, you went with a fun and light-hearted feel. You’re seen a photo shoot, having playful + flirty exchanges with Paige Campbell, the song’s back-up singer. What inspired you to take this approach and who directed the video?

I was telling the director David J Baron about the meaning of the song and the story that inspired it. He thought it would be interesting to explore the narrative with levity. We talked about the great Replacements video for “Bastards of Young,” and the idea of a video where everything goes wrong.

Paige is like a sister to me, and we’ve been guiding lights with each other’s music careers. I’ve played on a few of her recordings for her band How Tragic before they found their guitar player. So, doing things together, and me being playfully annoying, is part of our lives as close friends and collaborators, especially that scene with the guitar solo.

When we shot the video it was me, Paige, director David, and my fiancée, Danielle, just hanging out at a studio having fun. Just friends laughing and doing something low key. It was a lot of fun and very loose, and I wasn’t self-conscious. However, when I first saw the video, I was nervous because I felt like all the “uncool” things about myself were exposed. I showed it to Paige and Danielle and they were like “that is you,” and that made me feel like I should just got with it. I was overthinking it, and taking myself too seriously.

WEBSITE
FACEBOOK
INSTAGRAM

SRO Press Releases + Assets:
https://sropr.com/portfolio/lorne-behrman/

A person holding a guitar

Description automatically generated

‘A Little Midnight’ Album Cover
(Download)

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June 8, 2022

THE BLACK MOODS Go Back To School In Rebellious Music Video “Youth Is Wasted On The Young”

DT: JUNE 9, 2022
FM: KELLY WALSH, SRO PR

Text Description automatically generated

THE BLACK MOODS
GO BACK TO SCHOOL IN NEW MUSIC VIDEO FOR
“YOUTH IS WASTED ON THE YOUNG”

WATCH HERE

THIRD ALBUM ‘INTO THE NIGHT’ OUT NOW
VIA WIT HUSTLE / THE ORCHARD / STEELHORSE ENTERTAINMENT STREAM/DOWNLOAD NOW

Phoenix, AZ-based trio THE BLACK MOODS mix hard-hitting rock with electric blues, strong attitude, and plenty of anthemic choruses on their newly released third studio album INTO THE NIGHT out now via Wit Hustle/The Orchard / Steelhorse Entertainment. Produced by Grammy Award-nominated producer Johnny “K” Karkazis (Disturbed, 3 Doors Down), INTO THE NIGHT “blends the most elemental components of rock and roll music into new songs that achieve a nearly-perfect balance of guts, glory, guitar, and big-league hooks,” according to Rock & Blues Muse who further praised the band as “one of the most crucial and exciting American bands working today.”

THE BLACK MOODS—Josh Kennedy (vocals, guitar), Chico Diaz (drums) and Jordan Hoffman (bass)—have today (June 9) released a farcical music video for their vibrant and punchy single “Youth Is Wasted On The Young” following its exclusive premiere via MXDWN yesterday. The video was filmed at Combs High School in San Tan Valley, AZ and includes appearances from the school’s principal and student members alongside the band throughout various skits. Watch it streaming below or on YouTube HERE.

Loaded with rebellious lyrics (“You don’t like the like the way I spend my time / You don’t like the way we live our lives / You always let me know it’s on your dime / You act like being young is such a crime”), the song’s message of nonconformity is relatable to all generations.

Sharing how the song developed, Kennedy says, “The guys and I were hanging out in the studio jamming away and this song started crawling out. The hook line came right to me. I could hear it immediately. The first lines I wrote were the last ones in the song, ‘There’s no life where there’s no love, Youth Is Wasted On The Young’…it just flowed. The rest of it came out a few weeks later once everything was shut down due to Covid and reality had time to sink in. We felt like little kids being grounded, not allowed to go out and play, so we wrote it from that perspective.”

When it came to coming up with a video concept for “Youth Is Wasted On The Young,” Kennedy remarks, “We had a couple ideas as to what we wanted for the video. We wound up getting the option to take over a high school for a couple days, so we HAD to go with that. All the locations in one place, it was a no-brainer. A good friend of ours that we met from playing shows in Arizona and Mexico was retiring from his principal gig and asked us if we wanted to take over his school for a couple days. We couldn’t pass that up! Initially we were just gonna shoot some short videos for social media and then play a few songs for the kids, but inspiration struck. We brainstormed for a couple hours and storyboarded it out and it worked. We are huge Foo Fighter fans, to say the least. Their videos are amazing. We are most definitely paying homage to those guys in this video. It’s got a ‘Learn To Fly’ meets ‘Sabotage’ vibe for me. We are also fans of the Naked Gun movies as well as anything Broken Lizard does, so we obviously don’t take ourselves too seriously.”

THE BLACK MOODS – “Youth Is Wasted On The Young” Music Video

THE BLACK MOODS are currently in Mexico taking part in Roger Clyne & The Peacemakers’ annual Circus Mexicus festival (June 9 & 10) and will then return to Arizona for upcoming headlining shows in Tucson and Pinetop-Lakeside before making their way West for a stop in Wisconsin with Scott Stapp. Current upcoming shows can be found listed below. Stay tuned for further summer tour dates to be announced in the coming weeks.

INTO THE NIGHT is available to stream/download now at https://orcd.co/tbmintothenight.

Limited-edition autographed CDs (300 total) are also still available on their webstore HERE.

THE BLACK MOODS Tour Dates:
6/9 & 10 – Puerto Penasco, MX @ Circus Mexicus
6/18 – Tucson, AZ @ The Rock
6/24 & 25 – Pinetop-Lakeside, AZ @ Weekend In The Pines
7/23 – Wisconsin Dells, WI @ Crystal Grand Music Theatre (w/Scott Stapp)

Find THE BLACK MOODS online:
FACEBOOK | INSTAGRAM | TWITTER | WEBSITE

SRO PR Assets + Releases: http://sropr.com/portfolio/the-black-moods/

###

For press inquiries, please contact:
SRO PR
Kelly Walsh – kwalsh@sropr.com

June 8, 2022

Mammoth, Inc. Expands Footprint With New York City Office; Mammoth Northeast To Be Headed By Industry Veteran Sean Striegel

DATE: JUNE 8, 2022

FROM: MARCEE RONDAN

INTRODUCING
MAMMOTH NORTHEAST
NEW YORK OFFICE TO BE
HEADED BY INDUSTRY VETERAN
SEAN STRIEGEL

Leading Midwest promoter Mammoth, Inc. is expanding their footprint by opening a New York City branch and launching Mammoth Northeast. The New York office (in the city’s historic South Street Seaport area) will be headed by industry veteran Sean Striegel.

With more than three decades of experience as one of the nation’s leading talent buyers, Striegel brings his expertise in concert buying and event production to Mammoth, establishing an east coast presence for various live events ranging from clubs and arenas to national tours.

“The Mammoth team has worked hard at creating a forward-thinking, artist friendly business that serves the customer,” Sean Striegel says. “Adding my decades of experience in the live music industry to what Mammoth has built is a natural fit. Combining all of our knowledge and perspective will amplify the great service that artists, agents, managers, venues, and fans have come to expect of Mammoth.”

“We’ve had a long working relationship with Sean that’s developed into a close friendship,” says Mammoth’s Jeff Fortier. “His renowned booking abilities are a huge asset and addition to Mammoth’s capabilities. We’re very excited to have him as part of the growing team.”

Mammoth’s Josh Hunt notes, “Growth is organically happening within Mammoth, when the opportunity to include Sean on the east coast presented itself, it just made sense. We can’t think of anyone better suited to take on the responsibility of opening and running a Mammoth Northeast office.”

This news comes on the heels of the announcement of Mammoth’s expansion into the Pacific Northwest as a result of their recently announced establishment of Mammoth Northwest, a merger with Portland, Oregon’s Mike Thrasher Presents. Read more here.

Launched in 2006, Mammoth produces a wide array of live events including concerts and festivals, as well as national tours. Mammoth’s events range in size from small club shows to amphitheaters and arena shows (including more than 50 historic indoor theaters). The company is headed by Jeff Fortier and Josh Hunt, who together have over 55 years of combined music industry experience. With home offices in Lawrence, KS and Kansas City, MO, Mammoth produces more than 1,000 concerts and live events across the country per year, and those numbers sure to grow with the addition of Mammoth Northeast and Sean Striegel.

For more information, please visit https://www.mammothlive.com/

###

May 31, 2022

TASH SULTANA Talks About Their New ‘MTV Unplugged, Live In Melbourne’ Album’ And North American 2022 ‘Terra Firma’ Headlining Tour In New Q&A

DATE: MAY 31, 2022

FROM: MARCEE RONDAN/MITCH SCHNEIDER

Photo credit: Ben McFadyen

TASH SULTANA
TALKS ABOUT THEIR
‘MTV UNPLUGGED, LIVE IN MELBOURNE’ ALBUM’
OUT JUNE 3
AND NORTH AMERICAN 2022
‘TERRA FIRMA’ HEADLINING TOUR
IN NEW Q&A

In a revealing new Q&A, TASH SULTANA, the gender fluid multi-instrumentalist, singer-songwriter, producer and engineer, has offered more details and perspective about their upcoming album–MTV UNPLUGGED, LIVE IN MELBOURNE, out June 3 on Mom + Pop–and North American tour launching June 10 in Las Vegas. The Q&A is below, along with more info about the album and the tour dates.

TASH SULTANA
Q&A:

Q: Congrats on the upcoming release of the MTV Unplugged album. Can you let us know why you feel this live album is an important work for you?

TASH SULTANA: This is important to me because it’s the first record I’ve mixed. I honestly just wanted to give myself a project when I had nothing on the horizon and see what I could do. It took me three months because I was fussy with it, story of my life–I mean there’s always things you will change looking back but I just wanted to have that under my belt.

Q: American concertgoers know you as a solo performer. Can you talk about the dynamic of having a band onstage with you for this live recording?

TASH SULTANA: I think it’s important to make the distinction that I am a SOLO performer. I always write everything on all my records. I’ve played all the instruments on everything I’ve ever written (apart from the obvious collabs) or released as well as produced, arranged, co-engineered and so forth and I wanted to stay true to the record by extending the groove. I just physically ran out of arms and legs to play everything and that’s where these session musicians came into the equation.

Q: The MTV Unplugged album shines a light on your body of work so far including your version of Bon Iver’s “Flume.” Can you tell us why you selected these particular songs for this performance and why you feel they work together as an artistic statement?

TASH SULTANA: The actual set was an hour and 30 minutes long. The producers and I had a great time trying to work out what we had to condense for what got shown on air which was another reason why I wanted to release the record in its entirety. It’s just a little bit of everything, it’s a bit of the oldies, the newbies, looping, acoustic, band stuff. I wanted to do the EXACT opposite of what everyone else has done, so as you can see it is not “Unplugged”–it’s very much PLUGGED in and that was the point.

Q: Your upcoming tour has already generated an array of sold-out shows immediately upon announcement, including your return to Red Rocks in Colorado which sold out in a matter of minutes. Can you talk about how deeply satisfying this must be for you as an artist who knows they are connecting with a discerning audience who wants purity over commerciality and who wants to experience musical transcendence instead of seeing a slickly choreographed show?

TASH SULTANA: I think that’s a question better answered by the audience themselves. From what I know, given what they tell me is that they come because it’s REAL. It’s an emotional, physical, metaphysical, spiritual journey from the beginning until the end for myself and everyone bearing witness. It’s how I feel when I play. I am not performing the songs, I become the music. The stage is the pinnacle of my existence and my highest place, I revolve everything in my life around stepping out on stage. I treat my mind, body, spirit like an athlete treats themselves for the gold medal they’ve always dreamt of having. I see the vision, I create it, I work for it, I manifest it, I prepare for it, I train for it and therefore I attain it.

Q: You’re known as a singer, songwriter, multi-instrumentalist, producer, engineer and mixer. By being so multi-faceted and talented—in a way that brings to mind Prince—nothing gets in the way of your artistic vision. At the same time, are there any challenges for you since you oversee all these aspects?

TASH SULTANA: I appreciate other people’s feedback, respected feedback obviously. I would never listen to someone critiquing me who had no positive impact on my life, I don’t hear the hate, I hear the construct. But I suppose the downfall is being a perfectionist, the bar is always set higher, and I never reach the end, so I only compete with yesterday’s version of myself and sometimes I can be hard to satisfy.

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The North American headlining tour kicks off June 10 in Las Vegas at The Chelsea. Marking their first concerts here in three years, the run includes sold-out shows at the iconic Red Rocks Amphitheatre, Sandy, UT (Sandy Amphitheater), New York City (The Rooftop at Pier 17), Portland, ME (State Theatre), Boston, MA (House of Blues), Victoria BC (Royal Theatre BC), Forest Grove, OR (McMenamins Grand Lodge), Seattle (Paramount Theatre), Oakland (Fox Theater) and Los Angeles (Hollywood Palladium).

The tour also includes stops in Chicago, Philadelphia, the Bonnaroo Music Festival (June 19) and more. These dates follow TASH’s 2022 global ‘Terra Firma’ shows in the United Kingdom and Europe this past March/April with TASH set to return there for additional shows set for September.

The MTV UNPLUGGED album powerfully shines a light on TASH’s body of work and underlines their impact as a singer, songwriter, multi-instrumentalist, producer, engineer and mixer. By being so multi-faceted and talented—in a way that brings to mind Prince—nothing gets in the way of TASH’s artistic vision. The MTV UNPLUGGED, LIVE IN MELBOURNE album track listing is as follows:

01 Musk
02 Big Smoke
03 Mystik
04 Sweet & Dandy
05 Pretty Lady
06 Crop Circles
07 Greed
08 Willow Tree
09 Blame It On Society
10 Coma
11 Dream My Life Away
12 Flume
13 Notion

TASH SULTANA has been dubbed one of the hardest working music exports in Australia. Selling over 500’000 tickets globally in 2019 alone, they are back to make their mark on the world. Their #1 ARIA-charting sophomore album Terra Firma arrives three years after ARIA-winning debut album Flow State–which spawned the 2x Platinum single ‘Jungle’ and the Platinum-selling single ‘Mystik’ as well as accumulating over 1billion worldwide streams.

TASH’s 2022 North American dates are as follows:

Date	City/State	Venue
6/10	Las Vegas, NV	The Chelsea at the Cosmopolitan
6/11	Sandy, UT	Sandy Amphitheater	SOLD OUT
6/12	Morrison, CO	Red Rocks Amphitheatre	SOLD OUT
6/14	St. Paul, MN	Palace Theatre
6/15	Chicago, IL	Riviera Theatre
6/17	Cleveland, OH	The Agora Theatre
6/18	Newport, KY	Promowest Pavilion at Ovation
6/19	Manchester, TN	Bonnaroo Music Festival
6/21	Pittsburgh, PA	Roxian Theatre
6/22	Buffalo, NY	Asbury Hall at Babeville
6/24	Philadelphia, PA	The Fillmore
6/25	Washington, DC	The Anthem
6/26	New York, NY	Pier 17	SOLD OUT
6/28	Portland, ME	State Theatre	SOLD OUT
6/29	Boston, MA	House Of Blues	SOLD OUT
6/30	Montreal, QC	Festival International de Jazz de Montréal
7/2	Sherbrooke, QC	Sherblues and Folk Festival
7/4	Toronto, ON	HISTORY
7/5	Toronto, ON	HISTORY
7/7	Quebec City, QC	Festival d’été International de Québec
7/8	Ottawa, ON	RBC Ottawa Bluesfest
7/10	Winnipeg, MB	Winnipeg Folk Festival
7/12	Edmonton, AB	Edmonton Convention Centre
7/15	Victoria, BC	Royal Theatre	SOLD OUT
7/16	Vancouver, BC	Orpheum Theatre
7/17	Forest Grove, OR	McMenamins Grand Lodge	SOLD OUT
7/19	Seattle, WA	Paramount Theatre	SOLD OUT
7/21	Oakland, CA	Fox Theater	SOLD OUT
7/22	Oakland, CA	Fox Theater
7/23	Los Angeles, CA	Hollywood Palladium	SOLD OUT
7/24	Pomona, CA	Fox Theater

CONNECT WITH TASH SULTANA

WEBSITE | FACEBOOK | INSTAGRAM
SPOTIFY | APPLE MUSIC | YOUTUBE

For press inquiries, please contact SRO PR:

Marcee Rondan, marcee@sropr.com
Mitch Schneider, mschneider@sropr.com

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