All posts by timothy.anderl

The legend of Lovely Bad Things began in an eerily boring town called La Mirada which is nestled between Los Angeles and Orange County, a fitting place for a band to find solace in music. Brothers Camron (guitar, vocals) and Brayden Ward (drums, vocals) met Lauren Curtius (guitar, vocals), Tim Hatch (guitar) and Wesley Baxter (bass) during their formative years, and joined forces to create a perfect blend of the most infectiously resonant aspects of their alternative and punk predecessors. 

To date, Lovely Bad Things have played countless house shows and local venues, embarked on several cross-country solo tours, as well as with Best Coast and Diarrhea Planet, and have performed festivals including FYF, SXSW and Primavera Sound. Their sound falls within the realm of Pavement, Dinosaur Jr., Weezer and the like.

Naturally, Lovely Bad Things meticulously craft and distribute their music with a respectable DIY ethos. All album artwork and merch are made from scratch by Brayden, and each member of the band contributes in songwriting and multi-instrumentation. Their hard work puts a giant emphasis on the Grown Ups end, while their hilarious and charmingly chaotic energy screams teenage. Whether you’re in your own young confusion searching for music to make you feel like you’re not alone, a music snob who has a pessimistic outlook on anything post ’90s, or simply a lover of music, Lovely Bad Things should be in heavy rotation. 

The band recently released their Homebodied EP via Burger Records and today they share the delightful video for “Hiding To Nothing” with Ghettoblaster. Enjoy it below:

(Catch Lovely Bad Things live here:

April 25th At the Continental Room In Fullerton W/ Los Blenders and the Red Pears

May 28th At the Hi Hat In Los Angeles W/ Joos, The Side Eyes, And Wild Wing.

Visit them online here:







“If you want to go on a vacation, the best place to go is to the past,” lamented Robyn Hitchcock to the polite, seated crowd at the Marathon Center for the Performing Arts in Findlay, Ohio, on April 10. The crowd, who didn’t stay seated for long, was treated to the songs of two legacy acts with 40 year careers whose influence is deeply felt still today in modern alternative rock, indie rock and post-punk.

Photographer Jennifer Taylor was there to capture the action.

Robyn Hitchcock:



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WotD step things up with their latest release, joining forces with the mighty Pop Will Eat Itself and drawing on their background in the early noughties that saw the rise of chemical breaks, squeaks and bleeps and played a major role in a decade of DJ shows at home & across the globe for two of the bands members.

Christened on the type of rebellious rocktronic music that made the late ’90s such a great era to be part of, the Warriors have drawn on that spirit to sum up the social chaos and political discontent that has spewed out of the globe over the last 12 months. “We’re Taking Control” has elements of anger, disorder, angst hope and guts as the world moves into an uncertain future. “We’re Taking Control” is a vocal collaboration with Pop Will Eat Itself, known for a host of hits like “Wise Up Sucker,” and the Prodigy collaboration, “Their Law.” PWEI take the track to the next level with their take on the turn of events.

Ghettoblaster has the pleasure of premiering the song here:

(Visit the band here:

That One Eyed Kid is the moniker of Josh Friedman, a Boston-based independent songwriter, performer, and producer. Building from a soulful vocal performance, synth pop production, and delicate layers of acoustic and electronic instruments, T1EK’s songs are about embracing our deepest insecurities and holding them up to the light.

Until 2012 Josh was the keyboardist for the pop/rock band The Fates. When he wasn’t recording covers for his YouTube channel (with one in particular going viral) Josh began writing and producing his own material. In between outings with The Fates he started recording under the moniker That One Eyed Kid, a tongue-in-cheek reference to his bout with cancer resulting in the loss of his left eye.

After the band broke up in 2012 it became his primary music outlet. As That One Eyed Kid, he has released two EPs and has toured all around New England and the Midwest. His upcoming EP Crash And Burn was co-produced with Adam Korbesmeyer (Esther Dean, Tribe Society), mixed by Alex Aldi (Passion Pit, Magic Man) and mastered by Grammy award-winning Greg Calbi (John Mayer, Sara Bareilles).

In May T1EK will be on tour with George Woods in New England and the Midwest to promote the release of Crash And Burn. Today, he premieres the video for “Burn Out Right” here at Ghettoblaster, which you can enjoy below:

(Visit him here:


Known for their pulsing blend of danceable noise, visceral post-punk, and a live performance that mirrors the way the record unravels, Model/Actriz is an experiment in the primal aspects of human experience.

Formed in Boston, the band draws on inspirations from a myriad of scenes, with lead singer Cole hailing from Delaware, and Jack and Ruben from sunny Southern California. Yet there is a certain darkness that influences and permeates their music, reminiscent of the likes of Death Grips, Savages, and Nicolas Jaar. Their debut EP, AVA, threatens to burst at its own seams, with the trio paying homage to their love of noise, punk, and house music, an alchemical mixture of which turns much more volatile and terrifying than even those individual elements would lead to you to believe.

Following the politically-charged, volatile debut AVA, Model/Actriz present their newest work No, a continuation of their noisy dance music processional. The four tracks tread the line between the brute force of punk and throbbing grooves of dance music, like a heart about to explode.

Written in the fall of 2016, the songs were perfected live in the underground scenes of Boston and Los Angeles. The EP explores a minimally tonal sonic palette, relying on Ruben Radlauer and Jack Wetmore’s coalescing noises and rhythms rather than traditional song elements to awaken something primitive in the audience.

The EP is raw and minimal; it emits a grotesque light that goes hand in hand with frontman Cole Haden’s visceral lyric themes on the body, sex, and hate; it is about scrutinizing and tearing oneself apart; then offering the spoils up into searing light. No was recorded live by Chris McLaughlin (Mean Creek, BOYTOY) at the Converse Rubber Tracks Studio.

Today, Ghettoblaster has the pleasure of premiering the EP stream, which you can enjoy below. It hits the streets via Danger Collective Records today.

(Visit Model/Actriz here:
Instagram: @modelactriz


Dayton, Ohio, is the birth place of the cash register, the airplane, Roger and Zapp, The Ohio Players, The Breeders, Guided by Voices and… 3RA1N1AC.

In the mid ’90s the Dayton music scene became a hot spot generating worldwide buzz from the massive amount of influential indie rock being produced there. Arguably the most innovative of them all was the band Brainiac, led by musical genius and insanely charismatic front man Tim Taylor.

After several singles the band was courted by the New York label Grass Records and recorded two albums with Girls Against Boys own Eli Janney at the helm. Countless tours and much critical acclaim came which landed the band on the Lollapalooza side stage and a deal with Touch and Go Records. The band recorded a full length and two EPs with T&G again using Eli Janney and adding Steve Albini, Kim Deal and Jim O’Rourke in the mix to help produce.

The band was opening for Beck and being courted by the majors when Tim was tragically killed in an auto accident.

A Kickstarter campaign launched this week is expected to fund a documentary that will explore the ’90s Dayton music scene, Brainiac’s legacy and how people survive and cope with the loss of loved ones. Over the past 20 years Brainiac has been cited as a massive influence on the likes of Nine Inch Nails, The Mars Volta, Death Cab For Cutie and countless others. You’ll hear from the band, family members, fellow musicians and label heads.

The film will feature commentary and appearances by:

Steve Albini, Wayne Coyne, Buzz Osbourne, Cedric Bixler, David Yow, Eli Janney, Fred Armisen, Jim O’Rourke, Gregg Foreman, John Schmersal, Juan Monasterio, Tyler Trent, Michelle Bodine, Tim’s mother, Linda Taylor and more

The film is directed and produced by Eric Mahoney, whose documentary and narrative work has been seen on television and at various international film festivals such as Cannes, Tribeca and Melbourne. In addition Eric spent over a decade in the midwest music scene fronting the band Murder Your Darlings.

Contribute to the Kickstarter here:


Rock and Roll Hall of Famers, Daryl Hall & John Oates, are partnering with multi-platinum selling band, Tears For Fears, for a  North American tour.  The tour will kick off on Thursday, May 4 in Tulsa OK at the BOK Center and will include stops in Chicago, Nashville, Miami, New York, Dallas, Toronto, Denver, Las Vegas and more, before wrapping up in Los Angeles at the STAPLES Center at the end of July. The summer arena tour will also feature a special acoustic performance by opening act, Allen Stone.

Rock and Roll Hall of Fame inductees, Daryl Hall and John Oates, are the number-one selling duo in music history.

“I am very excited to be touring with Tears for Fears. Their music has a timeless quality that complements what we do. I think everyone is going to love this show!” said Daryl Hall.

For the full list of dates, visit:

Westing is about to release their loudest album to date, I Haven’t Been Feeling Myself. With this album Westing departs from their previous quiet acoustic sound and introduces a whole new intensity, expanding into a full band post-hardcore sound.

“After several solo shows, I quickly realized playing quiet acoustic songs by myself is not what I want to do. I need to be loud.” – Matt Mascarenas

Matt Mascarenas started Westing as a solo project in 2015. In what began as a way to keep his musical creativity alive when he wasn’t touring, Westing quickly became an ongoing pursuit, releasing a series of impromptu acoustic singles and splits.

Westing set out to record in a new environment and teamed up with Brett Romnes (I am the Avalanche) and Gary Cioni (former band member from past band Daytrader) during the fall of 2016 to create I Haven’t Been Feeling Myself at Barber Shop Studios in Hopatcong, New Jersey.

What originally started out as an acoustic solo project, Westing has transformed into a high intensity sound somewhere between the punk-rock he grew up with and indie songwriting he grew into. I Haven’t Been Feeling Myself will be released on April 14, 2017.

Westing is offering free downloads via Bandcamp beginning Thursday, April 13:

Visit the band here:

HIRAM-MAXIM is expecting the worst, and who can blame them. Politically and socially things are getting dark and when the lights go out, that might just be when the nightmare begins. Ghosts, the second LP from the Cleveland band, is a torrent of punishing noise, dark textures, and bleak visions of pain that come in the wake of this darkness.

These veterans of the Cleveland music scene, Fred Gunn, Lisa Miralia, John Panza and Dave Taha came together through the Lottery League, a citywide festival of ad-hoc collaboration. Taking its name from the inventor of a machine gun that helped turn Europe into an open air slaughterhouse during World War I, the band combined doom, noise, psych and shoegaze elements, a testament to that anarchic spirit and the members’ disparate backgrounds.

HIRAM-MAXIM recorded GHOSTS with Martin Bisi (Sonic Youth, Helmet, John Zorn, Unsane) in Brooklyn, with some portions captured at John Delzoppo’s Cleveland studio, Negative Space. Guest guitaristist Oliver Ackermann, of A Place to Bury Strangers, adds sonic broken glass to the opener, “Behind the Blindfold” and the title track, “Ghosts.”

On “Burn,” which Ghettoblaster has the pleasure of sharing today (below), Panza’s thudding rhythms march in step with Taha’s fuzzed out stoner riffs until the whole is subsumed by a distorted swell of Miralia’s electronics and ambient noise.

We recently caught up with Gunn to discuss the effort, as well as some of Cleveland’s finest features and exports. This is what he told us.

Are the Indians looking good this year?

I think this is best team the Tribe has had since the ‘90s. If we can stay healthy, my prediction is 96-66 and winning the World Series over the Cubs in 6.

Your start was as four strangers in a band lottery, but it stuck. Are you friends now?

Actually, Dave and I were pretty good friends prior to Lottery League. But to answer your question, yes we are friends. However at this point I think we have moved more into “Band Family” territory. When things go wrong in our personal lives, we share and support one another. There is a lot of trust and I’m not sure there are many secrets within the group. It’s pretty cool.

What were the catalysts that inspired this record as you were writing it?

Lyrically, Ghosts is a very angry record. I have channeled a lot of my frustrations with the current political and social climates in the country into this album.

It’s odd because living in my social circle, surrounding myself with good people and even seeing the way society is portrayed in entertainment, you start to believe things are finally starting to turn around. You think we are growing and evolving as a society. Then you see things like the passing of HB2, the murders of too many black males by the police, and the empowerment of the white supremacist community by the Trump campaign/administration and so on. I felt like we were past all this shit. It’s something I believed was behind us. There has been so much regression within the last year or so. It is like ghosts of our past have come back to haunt us.


Martin Bisi was involved in this creation. What did he bring to the table that transformed your ideas?

Martin is very hands off when it comes to the production of the songs. There was never a “Hey, why don’t you try playing it like this?” or “Sing it like this.” Martin is very well versed and experienced in experimental/louder music. He also knows his space very well and how to achieve the best recordings from it. He was able to dial in Lisa’s rig, which can be a challenge.

Where Martin really transformed this record was in the mixing process. The record sounds huge. I also highly recommend listening to it through headphones. Some of the panning he did on the album gives a whole different experience through headphones.

What role did Oliver Ackerman play in this album?

Oliver plays guitar on both “Behind the Blindfold” and “Ghosts.” We were very lucky to have him play on this record. So, Oliver comes in, sets up, gives “Blindfold” a listen, and then goes downstairs to record. No run thru, just jumps right in. He starts off on guitar and he is on the ground, hitting pedals with his knees, just ripping right through it. So the song gets to slow part, right before it comes back in super heavy again, and he unplugs his guitar, pops in a contact mic, that he applies to his neck, and just starts howling through his pedals. It was unbelievable. He nailed his parts for both songs on the first takes, weaving in and out, and finding his own space. What he added was perfect, even Martin was blown away. He is an amazing talent and probably one of the nicest dudes you will ever meet.

Who are the Cleveland bands that you see as the forebears of this album/endeavor?

I’m not sure I would really say any Cleveland bands were the “forefathers of this album”. Lisa and John are big fans of the band Craw and I can definitely see connections between us and that band. Another band – and I know, technically Akron but hey! We’re basically one big family – I could see is Devo. Over the summer we were invited to play at MOCA-Cleveland as part of the Mark Motherbaugh: Myopia exhibit. That night we performed a deconstructed cover of “Gates of Steel” at about half the speed. It was super gloomy and almost ballad-y. No one recognized what it was until we got to the chorus.

Speaking of Akron, do you guys use Earthquaker Devices pedals at all?

Three fourths of the band are currently using EQD pedals. Oddly enough, our guitarist Dave is not one of them, yet. Lisa uses the Disaster Transport Sr, John is using the Arpanoid on his drum machine, and I sing though the regular Disaster Transport.

Will there be a book companion to Ghosts? If so, what is the concept?

There is a book. It was designed by Aqualamb label co-owner, Eric Palmerlee. This one is broken into sections or chapters, if you will. It includes photographs from photographers Byron Miller and Lauren Voss, as well as some photos from myself and others. There are also some live and studio shots. This one also includes the lyrics, for which Eric came up with a really cool idea to use a redacted text technique, which looks so fucking cool. Eric did an amazing job, I’m very excited for everyone to get a chance to check it out.

hm book

Will there be a support tour to accompany this album?

We have a few things in the works, nothing concrete right now. We will be hitting New York for sure, sometime this summer. Probably some weekend regional dates, as well.

So I have to ask, we are getting a Melt (Cleveland-based sandwich shop) in Dayton. What should we order?

Well, a few years ago when Melt only had the one location in Lakewood, I was eating there fairly regularly; once every two weeks, sometimes more. Eight years and 20 lbs later, my advice is you should probably just get a salad. But, if you can show a little more restraint than I did, the Chorizo and Potato was always my favorite.

(Visit HIRAM-MAXIM and Aqualamb here:

Catch HIRAM-MAXIM live:

4/14 Hiram-Maxim — Cleveland, OH — at Now That’s Class w/ Ex-Astronaut

4/24 Hiram-Maxim — Cleveland Ohio — Beachland Ballroom w/ A Place to Bury Strangers)

Storyteller, songwriter–William Matheny, a West Virginia native and longtime keys player for Athens, Ohio, Southeast Engine, has broken out on his own with Strange Constellations, his debut 11-song solo collection of songwriter’s songwriter compositions. Released via Misra in February, Matheny’s songs don’t rest solely on the laurels of his everyman storytelling ability; Jackson Browne pop hooks alternate with alt-country tunes that might call to mind Drive-By Truckers, or even a twangier Craig Finn or Ted Leo.

We caught up with Matheny recently to discuss his development as a musician, Strange Constellations, and lofty goals. This is what he told us.

You are from Morgantown, West Virginia originally, right? What has being from Morgantown contributed to your development as a musician? Why not move on to someplace like Nashville?

I’m from Mannington, WV, originally. It’s a really small town about an hour south of Morgantown. I’ve lived in Morgantown since I was 18, so at this point, saying I’m from Morgantown is probably equally accurate.

As far as my development as a musician is concerned, moving to Morgantown was important simply because it was a college town with a music scene, some proper music venues, some really good bands and at one point , even a couple record stores. It’s a story that thousands of kids in America play out each year: impressionable 18 year old from a small town moves to a college town and has their mind opened, starts drinking coffee and reading Kafka. In my case, I got exposed to a much wider range of music and more importantly, I met people who were releasing albums, booking shows and touring.

Pragmatically, living in Morgantown makes a lot of sense for me. My band lives in Huntington, WV, so I’m close to the guys and I’m geographically close to a lot of the major east coast cities. We’ll be doing about 200 shows this year, so I’m gone most of the time anyway. My rent is also really cheap, so it’s nice to not have to work three jobs when I come from tour just to get by.

Do you know Mikey Iafrate? He’s from that area.

I do know Mikey! He’s working on a new record at the moment and I played some pedal steel on it. The album sounds great. I’m looking forward to that coming out.

What are your best earliest memories of music? Wasn’t your grandfather a country singer?

My father is a bluegrass musician, so he was always playing guitar or banjo around the house. When he wasn’t doing that, the stereo was usually on. My grandfather was a country singer who worked regionally with some different bands after he came home from World War II. They recorded a 78 and even ventured as far as Pittsburgh, PA, to perform on KDKA which, to a guy from rural WV in the early 1950s, must have felt like Marco Polo on the silk road. He passed away when I was less than a year old, so I never truly met him, but I think about him frequently.

When did you realize you had an affinity for it?

That’s hard to say. I remember being a little kid, younger than five, and seeing my dad playing music with some of his friends at a party or something. It looked like they were having a great time and I thought to myself that I’d like to do that too. I started taking piano lessons and then shortly after that, I started playing guitar and then promptly forgot all about playing piano until much, much later. Basically up until the time I joined Southeast Engine.

I know Adam from Rozwell Kid played bass on the EP. Who played on the full-length and are they also members of your live ensemble?

We didn’t truly have a proper band together when we started recording the album, so for the most part the record is me, Adam Meisterhans and Bud Carroll. As we got close to the end of the tracking, the actual group came together with Ian Thornton and Rod Elkins and we were able to get those guys on the record at the 11th hour. The live band is Rod, Ian and Bud and then Adam joins us when he can make it. Our friend Tom Hnatow from Horse Feathers and Vandaveer has also been playing with us as of late.

When did you begin writing Strange Constellations and what were you hoping to accomplish with the record?

I started writing the album on one of the last Southeast Engine tours in 2012. We existed in the sleeping-on-friends-couches strata, so I’d usually wait until everyone was asleep and then I’d sneak off somewhere quiet to write. At that point, I didn’t really have any concrete ideas about making a record or releasing my own music. I hadn’t written any songs in about five years just because I was so busy being a side person. Writing was initially difficult and the songs were coming slowly, but I kept doing it every night and eventually it all sort of came back to me. I don’t know how to ride a bike, so I can’t say for certain if it was like riding a bike, but I was having a good time writing again.

Who recorded Strange Constellations and what were you hoping that they’d bring to the table? Did they bring it?

Bud produced the record at his studio in Huntington, WV. Even after all the tunes were written, I still didn’t have any concrete plans about what I was going to do. Southeast Engine had pulled into the station – or whatever train metaphor you’d like to use for a band going on hiatus – and I wasn’t really doing much of anything. Adam and Bud mentioned that I should come down to Bud’s place to record some stuff just for fun and it gradually coalesced into the album. Both of those guys are just absolutely brilliant and they brought a ton to the table. They always have amazing ideas and they both really elevate anything they’re involved with.

What are your proudest accomplishments on the record?

Probably “Blood Moon Singer.” It was the last song we recorded for the album and by that point, we’d finally put a band in place and the whole track neatly tied together all the strands I’d been tracing with the writing of the record. It’s sort of like the whole album in one song.

I didn’t have anything to do with it, so I can’t actually count this is a proud accomplishment, but I love the album cover. Bryn Perrott is such a phenomenal artist and she did an amazing job.

You band is definitely a cross-genre pursuit. Have you noticed that you attract as many fans or country, jam band, Americana as you do indie rock?

I would say so, which is nice. I’d like to think that there are multiple points of entry with us. Everyone’s welcome! Except for racists, bigots, misogynyists and homophobes, of course.

Were you beyond yourself when you were asked to play Mountain Stage last year with your own band? How was that experience different than doing it with Southeast Engine and Todd Burge?

Without sounding too much like I’m thanking the academy, the guys and I all grew up attending Mountain Stage and listening to it on the radio. I think if you’re from West Virginia, it means a lot to you. Even though I’m lucky enough to count the producers and staff as good friends, it’s still a real thrill to be on the show, regardless of what act I happen to be playing with.

Is music your career? If not, would you like it to be?

I have a day job, but I’d certainly like to be doing this full time. Obviously the pie is a lot smaller these days and talking about the old school, big time level of success that people had in the ‘90s and earlier seems about as plausible as living on Neptune. If we could be a reasonably well run, sustainable small business, I’d be happy as a clam.

What are your loftiest goals for your music?

My real end game is to build a proper body of work that stands by itself. Anything else after that would be gravy.

(For a full list of Matheny’s tour dates, visit: