Tag Archive: “Featured”

Sharing the new video “Get Out Of The Car” off The Impossible Kid, Aesop Rock issued a statement regarding the song and video. It revolves around another seminal Hip Hop/Electro artist Camu Tao, whose album King Of Hearts (Definitive Jux/Fat Possum) was released posthumously in 2010.

This May 25th marks 9 years since the death of my friend Camu Tao, an event that serves as an emotional and narrative anchor in both this song and my life. I wanted to reflect on things that had changed since, and try to connect some events I hadn’t realized were potentially related.

“I asked my long-time friend and collaborator Coro to create some drawings that would accent parts of the lyrics, and director Rob Shaw was able to guide and weave the video into what it is here.

“Camu was entirely singular as an artist and human.  You may notice those who knew him speak of him often still – his presence and humor and imagination and energy and impact.  It’s all still right there.  I hope some of you that may not be familiar go check out his music.  This man was something special.

“Unrelated factoid: This song was originally called “The Impossible Kid,” titled after the line in the song that employs the phrase.  I ended up liking the name and moving it up the ladder.  I then settled on “Get Out of the Car” borrowed from the last line – which, while a somewhat clunky title, felt like it got to the point nicely.”


Here’s Camu Tao album, King Of Hearts.




Adam Gnade + Modern Ache premiere their video for “Hello, Shitstorm,” done by Maddie Pericak, via Ghettoblaster today. “Hello Shitstorm” is a pep-talk and a horror story about what’s happening in America at the moment—the new brand of fascism, the dawn of the Trump Years, a fresh meanness rising.

Andrew Mears (Foals) and Adam Gnade recorded together with Mears‘ former band, Youthmovies, but this is their first time collaborating with his new project, Brighton, UK’s Modern Ache (which also includes Dan Pollard). According to Gnade, “We put this single together as a rally cry for anyone who wants to acknowledge that we still have power and then do something about it. And it’s not just here in the States. This is happening all across the world—just look at Brexit and Aleppo. Dangerous times, but we’re strong too.” As he says in the single’s lyrics, “the wolves chasing us aren’t wolves/they’re guard dogs/and they’re chained.”

(Visit Gnade here: http://www.adamgnade.com/

Catch Gnade on tour here:

July 27 – Lawrence, @ Decade

August 6 – Arcata, CA @ Outer Space

August 7 – Portland, OR @ Grandma’s House

August 9 – Seattle, WA @ Pipsqueak

August 10 – Bellingham, WA @ Make.Shift)

Photo by Devin O’Brien

Sky Chefs is lead by Dale Nicholl’s (formerly of Spy Island) and features players from Black Keys, Pageants, Fiona Apple, Lou Reed, Chris Cohen, and Psychic Temple. After stints in Detroit, Dublin, Portland, Paris, New Zealand, and places in between, Nicholl’s returned to L.A., busted up his old band and started Sky Chefs. In 2016, Sky Chefs has released their debut LP, three EPs, and a scuzzy lil’ single. The songs from Ghosts & Goblins were written in Dublin and London and the album was recorded live over two days and produced by Chris Schlarb (Joyful Noise/Asthmatic Kitty) at BIG EGO, Long Beach, California. The album officially dropped in April.

Today, Ghettoblaster has the pleasure of premiering the video for the title track, which you can enjoy below:

(Visit Sky Chefs here: Facebook





The One With Brian’s Birthday

On this episode: Luke starts the episode by singing Happy Birthday to Brian and giving him four awesome songs as presents, our dear cousins talk about the upcoming Edgar Wright film Baby Driver and play a song from the soundtrack, Luke reveals his love of Gnarls Barkley, while Brian reveals his love of pudding, one of the songs has the LaBenne boys doing some super lame dance moves in their chairs, they dive deep into conversation about identiy and making your way through adult life as Brian reveals he is enjoying his 30s much more than his 20s, Luke explains the Bader-Meinhoff Phenomenon and they both workshop their new sign off phrases, all while playing eight of the best songs you’ll hear all week!

Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne bring you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.


Songs Played on The One With Brian’s Birthday

Danger Mouse feat. Run the Jewels and Big Boi – Chase Me from the Baby Driver Soundtrack out June 23rd on 30th Century Records

Cornelius – If You’re Here from Mellow Waves out July 21st on Rostrum Records

Lee Bains III and the Glory Fires – Underneath the Sheets of White Noise from Youth Detention out June 30th on Don Giovanni Records

Japanese Breakfast – Machinist from Soft Sounds From Another Planet out July 14th on Dead Oceans

OHMME – Woman from their self-titled debut EP out June 30th on Fox Hall Records

Elf Power – The Cat Trapped in the Wall from Twitching in Time out now on Orange Twin

Two Inch Astronaut – Can You Please Not Help from Can You Please Not Help out June 2nd on Exploding in Sound Records

The Pains of Being Pure at Heart – Anymore from The Echo of Pleasure out July 14th on Painbow Label

Photo by Zach Wallace

New Air finds Philadelphia’s Fire In The Radio pushing their unique brand of up-tempo indie-punk in a fresh direction incorporating elements of new wave, grunge, and shoegaze drone into tightly crafted pop songs. The result is a notably darker effort than 2015’s Telemetry, which was released to critical acclaim. It also proves to be the bands most ambitious and successful collection of songs to date.

From the driving beat and haunting oohs on the album’s opener and title track, to the head nodding rock anthem “Drug Life;” each of the songs on New Air reveal themselves in stark and immediate ways without meandering. Even on the album’s mid-tempo closer, “Holy Shit,” the pace and delivery of singer Rich Carbone’s vocals remain frenetic. And though Carbone hints at subtlety as he sings “carved your name on the wall, it’s buried in white, a ship for all seasons,” it’s all just a set up for the album’s blistering closing chorus replete with overlapping vocal and guitar lines.

New Air was recorded with Steve Poponi at Gradwell House studios (Beach Slang, Into It. Over It.) with additional engineering by Angus Cooke. The record was mixed by Jesse Gander (Japandroids, White Lung) and mastered by Alan Douches. Released May 5 via Wednesday Records, it is a banger of epic proportions that postures the band as one to be watch, if not in pole position for best album of the year.

Ghettoblaster caught up with the band to discuss their home city, working hard, and being impactful. This is what they said.

Philadelphia has been a hotbed for indie bands for several years. Does it make it difficult to differentiate yourself or standout when there is so much attention on your city?

We don’t think so. There is a lot of diversity in the music being made in the city. It has allowed us to carve out our own niche, while still being part of an overall scene that is supportive. Philadelphia has traditionally been a very blue collar town. We all grew up in that environment. When you see your parents working 12-15 hours a day to knock it out, it instills in you a sense that if you want to be good at what you do it requires hard work. A lot of the bands in Philadelphia grew up in that same environment. It shows in work that is being created and how it is being supported.

We recently read a well-publicized article of how rock and roll is, again, “dead.” We all just smiled. Apparently, the writer missed the two sold nights the Japandroids recently headlined at UT, or The Menziners/Jeff Rosenstock/Rozwell Kids show in Philly last month. It proves that if you create something genuine and honest there will always be an audience for it.

How soon after Telemetry did you begin writing for New Air?

Pretty much immediately. We had new songs in the works at the time we were making Telemetry that just were not developed enough to make the album. We started playing some of these songs on the Telemetry tour. Working them out in front of an audience helped us make them connect.

Was there a theme or idea you were hoping to capture with New Air? What were the catalysts that were going on in your lives that were inspiring the songs?

Through the writing process on this record we realized our songs were taking a darker shape touching on themes of loss, change, addiction, etc. Music is like therapy. You start at the surface and then dig deeper. The direction of these songs is largely a product of us opening up and getting more comfortable talking about these things. Losing friends to drug addiction and overdose inspired the song “Drug Life.” New Air was written in response to the current political climate in our country. Adeline deals with issues of mental health. All of these arose out of personal experiences that deeply affected us and it feels cathartic to write about them.

Were there things you were hoping would differentiate it from your past efforts?

We were certainly hoping for something more mature and evolved. We always like to challenge each other through the writing process. It’s very democratic. We tend to collaboratively obsess over the details, but there was also more communication and open-mindedness as to what each song could be.

You’ve incorporated some different elements here, including some new wave, shoegaze and grunge sounds. How did those influences leach in?

We’re fairly diverse in the music we listen to, both new and old. We often share what we’re listening to with one another. This broad base certainly influenced certain sounds and textures on the record. There is an amazing feeling when you hear a song that you love for the first time. There is a vibe and mood that draws you in. With this record, we started to look towards some of our favorite songs and reverse engineer them. We then tried to incorporate those elements into songs we were writing to make each song as impactful as possible.

How did you select the songs that would make the cut for the album?

We knew we wanted to make another full-length, but didn’t want to compromise the quality of the songs just to have 10 or 12 tracks. We really respect the people who support our music and always want to feel like we’re doing our best to write quality songs that people can relate to. We put our best seven songs into New Air and once we hit that number it felt like a complete thought.

For New Air you enlisted a special team to record, mix and master the album. All of those people seem like very deliberate, strategic choices. How did you select those folks to work this?

There was definitely some consideration put into who we would work with. We met Steve Poponi at the record release show for our last record. He was doing sound. We really liked him and wanted to work with him, so we ended up doing the underlying tracks for the record at his studio, Gradwell House. We did some additional tracks with Angus Cooke and then sent the record to Jesse Gander at Rain City Recorders in Vancouver to mix. Jesse did the last record. He’s a long-time friend and stellar engineer and did a great job. Alan Douches at West West Side mastered the record and made it sound brilliant per usual.

What elements of this record are you most proud of?

We really pushed ourselves on this record to improve the quality of our writing and dig deeper on the lyrical content. We’re all very close friends and proud of how we’ve worked together to make this music.

Are you doing some touring in support of New Air?

Yes, we head out for the first leg of tour starting in May. We’ll also be heading back to Fest 15 in the fall and doing a bunch of other touring in between. Come to our shows, say “hello.”

What are your loftiest goals for FITR as you move forward?

Lofty goals in the music industry in 2017 is an interesting concept. One thing people who support our band can count on is that we will only ever make music because we feel it is impactful. To be able to make music and have it connect and be meaningful to another person is why we do this. When people write to us and tell us that our songs mattered or helped them through a tough time, it means everything. It’s a privilege to gain that place of importance and we can only hope for more of the same.

Jawbreaker seems to be a pretty distinct influence of Fire In The Radio. Do you have feelings about the recent Riot Fest announcement?

It is certainly a band that we get compared to, which is a tremendous compliment. We have a huge amount of respect for Jawbreaker and the amazing records they’ve made. Their music has meant so much to so many. It’s exciting to see them return and have an opportunity to continue to share their art to a whole new audience. If we’re anywhere near Chicago in September, we’ll be there.

(Visit Fire In The Radio:

https://www.facebook.com/fireintheradio http://fireintheradio.tumblr.com/ https://twitter.com/FireIntheRadio http://instagram.com/fireintheradio https://fireintheradio.bandcamp.com/ https://soundcloud.com/fireintheradio

Catch Fire In The Radio live:

5.23 Providence, RI – Dusk

5.24 Brooklyn, NY – Alphaville

5.25 Lancaster, PA – Chameleon Club (Lizard Lounge)

5.26 Philadelphia, PA – Boot & Saddle)

Athens, Georgia’s Deep State have been flying under the radar making some of the best, pure-bent rock joy heard in a generation in their crook neck portion of the east coast. Power, volume, transition, and then suddenly, they’re here: one of your new favorite bands, wearing out the motor on your turntable.

Friends from bands, college, restaurant jobs Deep State knows there’s a vapor trail of goodness that’s been spread across the planet, so there’s the challenge. Follow it. Do it. The band plans to burn the wheels off the van with the release of Thought Garden, which was released in April via Friendship Fever.

Ghettoblaster caught up with singer/guitarist Taylor Chmura to discuss the pillars of the Athens music community, recording live, and his loftiest goals for the band.

Athens has a particularly strong musical history. What are your favorite parts of that? Is there any Athens music lore that you love?

There is so much from the past to be inspired by. Many of the people responsible for putting the city on the map are still pillars of the community. The present variety is exciting also. So many different avenues to go down. There are great shows every night! I lived in a house that my co-worker lived in back in the ’80s. He told me his old band used to live/practice there. Black Flag came and stayed on the floor. No big deal.

What were you hoping to accomplish with Thought Garden? As you were writing it was there a particular message, theme or feeling you were hoping would come through in the end?

Low-rent introspection filtered through high fidelity recording mechanisms. Personal moral decay seems to be a theme we return to constantly. We were hoping the album could be seen as an invitation to a garden of ideas.

One of the themes seems to be self-resolution. Are people always a work in progress or is there a point where you have to say “this is as good as it gets?”

Our argument is that your mind is a garden. It requires maintenance to remain healthy.

Did you always expect that you’d record the album live or was that Drew Vandenberg’s idea?

We went in knowing that we were going to record live and as quickly as possible. We tracked the songs over the course of two days. Drew was more than willing to work at a breakneck speed. He knew what we were up to the second we started playing.

Were you familiar with him before you began working together?

Ryan is good friends with him and has been for a while. They had worked on other recording projects together before we did this album. Drew’s reputation in town is well-known though. He makes amazing albums. He is a wizard. I’m proud to be his friend now.

What are your proudest moments on the record? Is there anything you would have done differently?

There are so many things we could have done differently…but I’m proud that you get us at one particular moment in time as opposed to stretched out over the course of a few months. It’s exactly who we are in a room together. We have no business being a rock band if we can’t play 11 songs well in a couple of days.

Ryan has a Master’s in guitar performance right? Is there an academic approach or music theory that leaches in to your compositions? Or, do you write based on feel?

He does. He certainly has a unique approach to his instrument. We all have an effect on the songs in our own ways. I come to practice with a stone cube with some words etched into it. Smokey, Michael, and Ryan turn it into a wheel. I suppose both of those options apply. We try not to think too much.

How did Friendship Fever/Chris Watson discover you and what has the label done to elevate or support the band?

Chris and Sabrina Watson of FF found our Bandcamp page, asked us what our plans were, and then chose to sign us. It was like a dream playing out in real life. They are the sweetest, most hard-working people we’ve encountered as a band and we are so honored to be a part of their grand vision. Long live Friendship Fever.

What are your loftiest goals for the band?

We would love to keep doing this as long as we can. We just want people to hear our music. More albums more albums more albums. Maybe it’ll be our only job one day…

(Visit Deep State here:

www.friendshipfever.com/artist/deep-state www.facebook.com/deepstatega

Catch them live here:

May 24

Kinship Goods

Charleston, WV

May 26

Union Pool

New York, NY

May 27


Philadelphia, PA

May 28


Pittsburgh, PA

May 30

Youth Bored

Whitesburg, KY

Jun 01


Louisville, KY

Jun 02

The Odditorium

Asheville, NC

Jul 20

The Earl

Atlanta, GA)


Looking all around him, Sam Boatright began noticing that a chance of scenery was needed for him.  Leaving his post in the garage-psych band Psychic Heat to explore other opportunities, the twenty-one Lawrence, Kansas musician went back to music that he archived years ago.

Channeling the moniker that he kept dormant till just recently Hush Machine, Boatright’s self-titled debut album comprises youthful reflections and philosophies.  These traits can be easily traced as the songs were mainly written during the musician’s high school days.

Ghettoblaster recently caught up with Boatright and discussed why Hush Machine was given new life, if there was any regrets leaving his previous project, and what’s next.

You just began sharing music under the moniker Hush Machine.  Although you have been under the moniker for several years now, what finally convinced you to start releasing music?

I sent out these tunes to hundreds of people over the past few years. This past year, Chris Mac at Jigsaw responded and wanted to release them under his awesome indie label. I think his courage and enthusiasm in the songs gave me a kick in the butt that I needed and validated to me that these songs may actually be good.

Before Hush Machine, you were involved in another band Psychic Heat.  How difficult was it to leave that project to explore other things?

It was hard to leave Psychic Heat, especially because those dudes are so amazing. But sometimes life happens and it just makes sense to do your own creative things. We’re all still good friends, and it’s fun to keep up with what different projects we’re putting out.

On your self-titled album, a majority of the songs were written and recorded back in 2013.  What was the reasoning of going with these batch of songs instead of recording fresh material?

I wanted to put out these songs because I felt like they deserved a proper release. It was almost as if I couldn’t fully put myself into a new thing with these songs sitting and collecting dust. I’ve recorded a handful of odd songs from Beat Happening-esque rambles and Drums-wannabe tracks, haha, but the batch of songs on this debut release recalls a very certain time for me in my life. I see it as a photograph capturing my immaturity and angst and naivety and that I could only write those songs lyrically and musically at that point.

Lyrically, the album contain a mix of youthful angst and peaceful harmony.  What was your vision during the writing process?

These were all songs written over my junior high and high school years; it’s weird singing them now, but it definitely shows me, at least, that I have changed and transformed, which is good. I didn’t have any specific vision while writing the songs, but to just not second guess myself that much. Just create and if it’s decent keep working with it until I found it to be good.

When listening to the album, I can still hear some influence of Psychic Heat.  Did you purposefully seek out to set up Hush Machine to sound differently?

Psychic Heat is a band very aware and conscious of melody and pop sensibility. I think Hush Machine is similar in that way, but otherwise, I think of Hush Machine as much more skeletal and jangly, whereas Psychic Heat could be this loud, fuzzy beast.

What was the process like recording your self-titled debut album?

I booked two days at Weights and Measures studios in Kansas City with the ever wonderful Duane Trower. He helped me hone in on the sharpness of the songs and their rigidity and he was able to let me work at the quick pace that I like. I think we both work well that way.

Did you record all of the instrumentals yourself for the album?

Yeah, I recorded all the parts, just like Andre 3000 😉

I didn’t see any upcoming shows or tours lined up.  Does Hush Machine have anything coming up in the near future?

We’re in the process of booking a tour for late June/early July and we’ve been playing a few shows a month around Lawrence. We got 2nd in KU’s Battle of the Bands (Farmer’s Ball) which was great! It was like our second show as a band; the validation from the crowd that I wasn’t an idiot for playing these songs live was very warming.

Hush Machine’s self-titled debut is out now via Jigsaw Records

(Visit Hush Machine:

FACEBOOK: https://www.facebook.com/hushmachine/
TWITTER: https://twitter.com/hushmachine)

Another week rolls by and life’s got me feeling overworked, underpaid and less than appreciated. It doesn’t really vary from any other week I guess. Walking and driving in zombie-like states would probably have people glaring at me if they knew I was always tired. I haven’t been able to upload new music on my iPod so I’m stuck listening to the same regurgitated music I’ve been listening to. That’s usually until I get my ass to a computer. But there lies the rub. As soon as I get to a computer I gravitate towards varying podcasts even my friends don’t listen to. Damn the internet for making everything available to me worldwide! Regardless, I’m feeling… eclecticism coming on. Losing myself in multiple genres of music is what I’ve been doing this week. Sometimes I’ll get too comfortable with just one genre of music.  And so this Friday’s Roll Out begins…

Thirstin Square Crop
Thirstin Howl The 3rd

I’m pretty sure that Thirstin Howl The 3rd’s name is recognizable here. Now if you don’t know and are one of the uninitiated, sit down and we’ll break it all down for you. Victor DeJesus, better known by his stage name Thirstin Howl The 3rd has cut his teeth in underground Hip Hop circles closing in on two decades now. He’s toured the world, shared stages with those well and lesser known, and has released 11 albums, not including his new Skillmatic (Skillionaire Enterprises). The cover art seemingly parodies Nas’ groundbreaking Illmatic, but there’s a method to Howl’s madness. It’s not a true parody in art but possibly a nod to the greatness one album was, and how another may be viewed as well. Now it all depends on perspective though. In 2017 one might have a number of adjectives that an artist wouldn’t want to be associated with like misogynistic, self-gratuitous, etc. But I’m pretty sure Thirstin Howl The 3rd gives no fucks about it. Truth be told, Skillmatic is a throwback to a time when artists wrote lyrics right off the top of the head and performed on tracks that brought the true boom-bap. No shortcuts taken, just um, skill!

But Nas isn’t the only artist Howl gives a nod to because with the opener “Public Enemy” he and Master Fuol create their own rhythm and rebel against a system that’s unjust and corrosive. The feel of the track booms with relentless beat while Howl spits and shouts, showcasing his lyrical dexterity in both English and Spanish. He’s rallying against the system as P.E. did but with a finality. Fuol plays the Flava to his Chuck D. and the tag team is as effortless as it is looks and sounds. Skillmatic is rife with guest appearances though; Master Fuol continues with the assist but you also have Onyx’ Sticky Fingaz on “Crime Lord” where Howl, Fuol and Sticky bludgeon things with deliveries as strong as baseball bats and Timbs cracking down on heads. But it’s “Olde Gold Cypher” where you get an idea of what Thirstin Howl can accomplish with just a hypnotic beat and his voice alone. You can imagine blunts passed back and forth during studio sessions, blessing the track with a weed-induced clarity. If listeners are looking for something politically correct, they may want to skip “Wake Up In The Morning” which once again features Master Fuol but also includes Dre Brown.  It’s that true old school having these three spitting lyrics about beautiful women and what they can do. To them. The flow is just bananas and while their lyrics are rated X or NC-17, it just works.  It unexpectedly creeps into the title track where you find Mobb Deep’s Prodigy alongside Howl, both rapping about guns, and keeping things real. Over a mid-tempo’d beat wallowing in urban blight, we all know where this one goes. Both Howl and Prodigy are “Skillmatic” as they “turn this flow into dough.” Thirstin’ Howl The 3rd is no doubt internationally known, even featuring Japan’s Dak Lo on “Japan Style” where Howl shows love to Dak Lo, part of the extended Lo Life crew. The two volley back and forth and while Dak Lo raps in Japanese and my translation skills are nil, it still works. I can’t help but think how grimy this album sounds after listening to “Barberic Merits” because as I mentioned before, no fucks are given. Even with the sweet supporting vocals on the closing “I Will Always Be Right Here” there’s no removing that imagery of gritty urban life.  The Brownsville, Brooklyn rapper’s Skillmatic is something you won’t be able to help listening to over and over again. That is, if you’re strong enough and willing.

Now I’m sure you’re probably wondering, ‘What the hell is a Lizard McGee?’ Well, Lizard is the lead singer of the Columbus, Ohio band Earwig.   It’s hard to believe that the band has been going strong for 25 years in one form or another but here, Lizard McGee strips things down for a half hour of acoustic tracks in the form of Spooky Jets At A Distance (LFM/Anyway Records). One cannot simply mention Lizard without bringing up his band with this release. The majority of songs comprised here are reworked versions of Earwig’s 2016 release Pause For The Jets, which I didn’t realize until recently (It made sense why the songs sounded so familiar.) The fortitude of a song is measured in its acoustic counterpart, which for the most part, works here, and at moments sound better than versions with the full band. “Lover Chords” does that. It’s the nuance in every note and chord played that plays to Lizard’s vocal strengths. If you listen to it, that’s the point there. The counter parts are driving rock songs while here you get the laid back quieter versions. But the haunting “Bring Yrself 2 Me” works in either format but here, it’s just…spooky. I’m not certain if it’s the empty space that has me thinking that or just the way Lizard draws out the song. Repetitive but far from being repetitious. While “Wasted On You” doesn’t have Lydia Loveless’ additional vocals here doesn’t matter because the song can stand alone without her or a band. “Silverheels” though, the song stands apart from the original, without any added tricks, is a strong number. You can’t help but enjoy it. Spooky Jets At A Distance is clever counterpart to Pause For The Jets and bookshelf’s it perfectly.

Spooky Jets Cover
Lizard McGee

Now s this a Friday Roll Out…or is it just someone’s best kept secret? Aye Nako‘s new album Silver Haze quietly dropped in April. While there were sources that reviewed and/or premiered tracks, there hasn’t been very many mentions of the album or videos debuting. The nagging question I have is “Why?” Because I haven’t heard such sheer abandon to rock out and write great punk/pop songs in such a long time. I obviously should have ended this with that last sentence but continue reading if you’d like. A self-proclaimed queer punk band, Aye Nako spends its time writing melodic punk music in Brooklyn, NY.  and while Silver Haze isn’t the group’s first album, it sure sounds like it has that unrelenting fervor of a band just starting to hit their groove. Aye Nako classifies itself as a “queer punk band comprised of 4 weirdos writing dissonant and melodic punk music” but I only hear one amazing band that’s created its own niche on the punk continuum. The band does volley back and forth from male and female vocals and I’m usually quick to point out influences but with Aye Nako, it’s not that I can’t but rather, I just don’t want to. There’s a child-like innocence to the band when listening to “Half Dome.” You can’t help but feel a quick connection to their music. The sultry sounds of “Nightcrawler” has the band punctuating its music with elements that makes it sound more mature, way beyond their years. Not making sense? Imagine the band taking pop music lessons from other bands but then deciding they’re doing things their own way. That’s the attitude the band captures. They’re both sweet and sour, usually at the same time and songs like “Muck,” “Particle Mace” and “Spare Me” capture that feeling. Do I like this band? Nope, not at all. I love Aye Nako’s music. Silver Haze is one amazing piece of work these 4 weirdos have created.

Aye Nako
Aye Nako



Thirstin Howl The 3rd: Facebook // Twitter // Instagram
Lizard McGee: Facebook // Twitter // Instagram
Aye Nako: Facebook // Twitter // Instagram





Based in the musical mecca of Nashville, TN, The Nearly Deads emit polished grit, mixing the powerful pop vocals of singer Theresa Jeane with the aggressive grunge-inspired instrumentals of Steve Tobi, Javier Garza, Josh Perrone, and Kevin Koelsch. the band has managed to create a truly unique genre that not only gives a nod to gritty grunge, but brings it back in a way never heard before.

From studio to stage to the written page, The Nearly Deads continue to forge a new path dotted by passion, charisma, talent, hard work, and messages of positivity and empowerment. The band’s genuine nature and generosity towards their supporters has fueled the ascension of their “Zombie Nation” of fandom.

Crowned victors in the John Lennon Songwriting Contest and a Converse Battle of the Bands competition, the band tours incessantly, with slots at prestigious festivals such as Vans Warped Tour, Summerfest, PrideFest and Journeys Backyard BBQ matched by shows with Halestorm, All-American Rejects, and a 2015 run on the Black Widow Tour with In This Moment, Butcher Babies, and Upon A Burning Body. This constant stream of success and activity has led to airplay on MTVu, MTV Hits, FUSE, BlankTV, Verizon FiOS and Vevo; features in Absolute Punk, Alt Press, ARTISTdirect, Outburn, PureVolume, Revolver, Rock Confidential and Substream and a #14 spot on Billboard’s Next Big Sound Chart.

Ghettoblaster recently caught up with The Nearly Deads’ drummer Josh Perrone to discuss their new EP, Revenge of The Nearly Deads, their fans and their own pop culture fandom, and the band’s evolution.

This may have been mentioned to you before, but you bear some similarities to another TN band. Have you guys met Paramore, and if so, what was that exchange like?

We actually have never met them, but we have gotten feedback on the similarities we share, and we’re honored when people tell us that. Would love to meet them though!

How was the band’s sound evolved since Invisible Tonight?

We wanted to take a heavier approach with our sound after the Invisible Tonight album.

Actually going back to our roots and The Nearly Deads’ first EP. Invisible Tonight was very pop and punk driven, and with the Revenge of The Nearly Deads EP we beefed things up.

You guys have won both the John Lennon Songwriting Contest and Converse Battle of the Bands competition. What did those experiences do for the band?

They did great things for the band, with the John Lennon Songwriting Contest we got select dates on Warped Tour, which is such a milestone for any band and is great exposure. The Converse Battle of the Bands gave the band one of its first opportunities to perform in front of a bigger festival crowd. Unfortunately I wasn’t in the band yet for those moments, but it definitely paved the way to more opportunities that I have got to be a part of.

When did you start writing for the EP and what inspired that output? What were you hoping to accomplish with it? 

I’ve been writing ideas and parts for the past year. We had a lot of cool ideas and songs, and I specifically remember the first time the band really sat down and hashed things out was when we had a few days off on the Black Widow Tour. We were staying at Javier’s parent’s ranch and jamming the songs in a barn. It was so rad. We were all inspired to be heavier and just have a real rock vibe, personally I was really inspired by Muse, I was into those driving four on the floor beats in their songs. We really wanted to accomplish that heavier rock sound and I think we did just that.

What are your proudest moments on the record?

For me my proudest moment is the song “Frequencies.” I’m proud of all the songs and things I got to do in each of them, but that song to me is just so cool and haunting. Specifically the beat I do in the second half of the second verse, which was actually Steve’s idea. He mouthed out the beat to me in the studio, poorly, but I got what he was saying and laid it down on the kit.

Is “My Evil Ways” about dealing with vices or just a Peter Pan story about not wanting to grow up?

Honestly it’s hard for me to give the 100 percent true answer because TJ wrote the lyrics, but I’d say it’s a little of both. I mean no one really wants to grow up and age is just a number. There’s also the other aspect of it where maybe you should grow up. Maybe you need to be more responsible and better yourself to have a better life.

Are you proud of how your fans have organized, aka Zombie Nation?

We are so unbelievably proud! We have the best fans in the world and it’s so awesome to us that they took an idea we had and ran with it. It means the world to us, Zombie Nation for life!

Are you all fans of zombies? If so, have you read the trillogy Rhianon Frater wrote. It has a super strong female protagonist.

Yes we are! We are all super into horror and zombies is at the top of the list for all of us. I have never read that trilogy, and I can’t recall any other member reading it either, but I definitely want to now! It’d be a great thing for the road.

Are you guys pop culture junkies or nerds? If so, what is your guiltiest pleasure? What is the best guilty pleasure of one of your bandmates?

We are! Steve and I are consumed by pop culture and are the biggest nerds. We joke though because Steve is more of a “video game” nerd and I’m a “superhero” nerd. He knows everything about the latest games and I research everything Marvel, DC, etc. I am the Batman… We are all movie nerds, we love them and most of our conversations are just movie quotes back and forth to each other.

As far as guilty pleasures go I guess I’d say mine is I love to listen to like Katy Perry and basically all the top 40 pop hits on the radio. For one of my bandmate’s guilty pleasures I’ll give it to TJ, she loves reality TV shows, specifically Real Housewives of Atlanta.

What are your favorite accomplishments with the band so far? What are your loftiest future goals for the band? 

My favorite accomplishment with the band so far is definitely the new EP. It’s the first studio recordings I’ve got to be a part of with the band, aside from the Ellie Goulding cover we did, those were my drums on that. But as far as original music the Revenge of The Nearly Deads EP is my first. My goal for the band is just to keep making music and touring and seeing all our fans at each show. Of course getting rich and famous wouldn’t be bad either. But, I think I can speak for everyone when I say we just love what we do and making this a long lasting career is our goal.

(Visit The Nearly Deads here: http://www.thenearlydeads.com/#about.)

Befitting their handle, Dead Posey is fascinated by what lies beyond, their music exploring the nature of mortality through both waking life and dreams. But while the Los Angeles duo’s lyrics lean toward the metaphysical, its debut EP, Freak Show, is a raucous, fuzz-loaded collection of back-to-basics rock ‘n’ roll. Singer Danielle Souza’s inspired vocals blend seamlessly with guitarist Kyle Foster’s muddy, blown-out riffs in this vibrant, boot-stomping five-song collection.

The band spent most of 2016 working on Freak Show and credits producer/co-writer ALLIES (Tony Fagenson of Eve 6) with helping guide their vision and develop their sound. The EP was created almost entirely in the studio, starting from Souza and Foster’s bare-bones vocals-and-guitar demos. From the anthemic “Don’t Stop the Devil” to the soulful swamp rock of “Boogeyman,” Dead Posey will leave you eager to let your freak flag fly.

Today, Ghettoblaster has the pleasure of offering of the EP’s title track, which you can enjoy below:

(Visit Dead Posey at: