IN THE PRESS
“Tucson duo Golden Boots (Ryen Eggleston and Dimitri Manos) make appealing, low-fi indie rock that’s been baked in the Southwest sun. Their new album Liquid Ranch is out in April and this is the twangy new single that’s overflowing with ramshackle charm.”
“Staying true to their essence, Grampfather’s new album wavers between abrasive rockers and chill indie vibes. As such, the album, like their live shows, is sure to keep listeners on their toes.”
“Fans of Ween will find plenty to appreciate in this song, which incorporates bouncy, oddball pop with indie and psych rock. Catchy vocals and jangly guitar give the song a dreamy and druggy quality…”
Tin Can Collective is back with a new EP for the new year, A Brief Look At Rising Tides.
A sign of the times, the record is a collection of songs penned by brother/sister team John and Jess Warren, with only two people in the studio at a given time throughout its making.
Step into ‘Jelly World’, the illustrations by Brianna Miller & meet the amplified alter-egos of our childhood favourites.
Though Shalom Toy captures
frustration on “Same Side,” her latest single as Silvering, she explores these ideas with impressive grace—the track sounds vaguely lenient on Radiohead or even Coldplay in the same way IAN SWEET’s music is, while Toy’s longing vocals recall those of Soccer Mommy. All of which is written out in an intentionally honest light, with Toy’s heartfelt lyrics pairing well with dramatic string arrangements courtesy of Collin Dupree.
“Usie lays down dreamy vocals that bring to mind the slower works of Ween and even My Morning Jacket’s Jim James while also standing out as unique. What makes the song especially intriguing is the addition of fiddle by Louis Michot and pedal steel by Jonny Campos, both of rich add a deeper dimension to the sound and keep it close to its Louisiana roots.”
“Few songwriters can successfully contextualize large issues with the humor and humanity of Padilla. There are shadows of the warped sensibilities of Frank Zappa and George Clinton throughout his songs, a similar singular vibe: literally no-one else could have made this album.”
“Antonick works a voodoo jukebox blues, draped in a mossy late-summer haze, mingling doo-wop and barbershop tones with dusty, settled cedarn folk and bleary, country-tinged garage rock.”
“Golden Boots’ take on the track seems to bring the conversational lyrics to the fore, accompanied by a classically alt-country backing of slide guitar, banjo and the steady tick of the drumbeat. Like the best cover versions, it highlights the qualities of the original, while simultaneously re-imagining it in Golden Boots’ own image.”