Tag Archive: “Featured”

Evan Andree and Travis Bunn never expected to form TRASHCLUB. The two met by chance in Los Angeles, where they’d separately relocated—drummer Bunn from Arizona, and singer/guitarist Andree from Atlanta—to try their hand at songwriting and producing. The two hit it off instantly, ended up playing each other some tracks they were working on, and decided to link up the following week to make some music together.

While Bunn (who also plays in L.A. indie-pop band Dead Times) and Andree (whose music has been featured on shows like Bad Girls Club and 16 and Pregnant) had originally planned to sit down and work on songs for other artists, they ended up saying screw it and defecting to Bunn’s practice space to just hang out and jam instead. The duo’s partnership is now in full swing with TRASHCLUB, a garage-inspired dance-rock venture featuring Andree on vocals and guitar and Bunn on drums, percussion and backing vox. Sharing production duties, they’ve churned out more than a half-dozen of tracks, the first of which, disco-punk anthem “Out of My Head,” was recently featured on Showtime’s Shameless.

TRASHCLUB’s new debut EP, Black Out (coming March 10 from Position Music), showcases seven strident, hook-heavy rock & roll tracks that play as one hell of a soundtrack to young, reckless and freewheeling city life—albeit with a playfully gloomy and self-deprecating slant.

Today, Ghettoblaster has the pleasure of premiering “Dusty Midnight,” one of the give-no-fucks rock and roll tunes from the forthcoming EP. Enjoy it below.

(Visit TRASHCLUB here: https://www.facebook.com/TRASHCLUBMUSIC/.

Pre-order the EP here: https://itunes.apple.com/us/album/trashclub/id1199706292?ls=1&app=itunes)

I’ve been hesitating. It’s probably because I just can’t get enough of the latest album by A Tribe Called Quest. Listening to a podcast today I wasn’t even thinking their album but then Michael Rapaport brought up the group’s performance on the Grammys and the loss of a key member, so I had to play it. Again. The maturity of that album and the songs(!) get me every time. I’ve even started hitting ATCQ back catalog. Timeless. But it detracts me from what I need to do and the tasks at hand. And again, I’m thinking about Phife’s album that’s supposed to drop this year. And if it’s not something ATCQ relatedo, then it’s that Beach Slang, which has me tightly wound like a crack whore. But I digress. Again.

Today there are a number of releases, monotonous or not, hitting shelves of stores like Haffa Records and Stinkweeds (shameless plugs.) This week, we have a few, um, unexpected albums that made this one scribe really think. About? Well let’s just say life is full of surprises.  Many people probably don’t know about Ten In The Swear Jar; it was a project Jamie Stewart was a part of early on in his musical career (I still have a 10″ they released.) It touched on some of the things he’s done with Xiu Xiu over the past 15 years. But as any fledgling musical group or artist does, he’s evolved. With the band’s new album Forget (Polyvinyl Records) the evolution has continued. I’m hard pressed to simply write-off Xiu Xiu as just another experimental outfit because what Stewart and the band, whose current roster also includes Shayna Dunkelman and Angela Seo, and have put together are a collection of tracks that seamlessly flow from one to another with a deep rooted pop sensibility. But that’s not to say the group doesn’t continue to explore new avenues of sound structuring. The opening “The Call” isn’t how you’d expect a Xiu Xiu song to begin but then again it is. Jamie Stewart immersing himself in other genres of music outside of his Xiu Xiu outfit has possibly contributed to it. The group gets Enyce Smith to quickly rhyme on the track, coming in and out, while the band builds a clever synth-pop track around it, keeping that relentless beat from dissipating. The song is soon followed by “Queen Of The Losers,” which sounds anthemic with images of grandeur. The bitter feel and darkness of previous releases seems to have almost vanished and there’s nary a negative feel here, although the band seemingly wraps Stewart’s sometimes gloomy wordplay around light-hearted music. But that doesn’t happen on “Hay Choco Bananas” where you’re overwhelmed by the wall of sound of instruments that are quite frightening. Stewart’s lyrics begin hauntingly with “The plague / That is your eyes / A joke to break ones heart” does jab knives into you. When you get to “At Last, At Last,” you get the full treatment of interchanging dynamics. When Xiu Xiu is at its most explosive it’s as if the group is punk band for the thinking man. It’s not until getting to “Petite” that you realize Xiu Xiu isn’t just about electronics and beating listeners over the head with synthetics. Here on this sparse track you get the beauty of Stewart’s unique voice and delivery, along with strings and acoustic guitars. Oh the majesty of it all! With Forget, the band has undoubtedly surpassed expectations. The band tears sounds apart and reconnects them with originality and sheer abandon.

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Xiu Xiu – Forget

Well now…. the San Francisco four-piece band Blank Square drops a new album completely different from anything else I’ve listened to today. While the pace isn’t as frantic as I expected, the band takes an unorthodox approach. I dont want to categorize the group’s release, Animal I (Castle Face Records), as some fly-by-night avant-garde recording, although some of those elements may be present but hot damn if this isn’t listenable, again and again. While there may be no new ground broken here by the members of Blank Square, it sounds as if they’ve taken elements of a few 90’s outfits, taken out the bits and pieces that matter, and have created a story that’s both innovative and insane at the same time. You may be overcome with a feel of dread once the 1:28 minute plays. Disjointed guitars are occasionally surrounded by an unrelenting horn section before bellowing with dissonance and a quick rhythmic pace on “Bangers.” There’s grit, and lots of it here and yet it showcases the cohesiveness of it much like how one southern California outfit might do it. Simply put, the members of Truman’s Water would probably be thrilled to hear the band’s take a style they’ve perfected by not perfecting it. But one simple comparison doesn’t do Blank Square justice. After listening to “Exit Saint” I can’t help but think this might be what The Cows would sound like after molesting Brainiac in a vat filled with ice water. And if I were to go back further I’d say they were the great grandkids of the Fall, who happen to take more chances than a whore without a stack of condoms.

Blank Squares - Animal I
Blank Square – Animal I

I can’t help but think that Blank Square doesn’t come to play at being a flash-in-the-pan outfit with visions of grandeur. They’re here simply to  shock an industry with the necessary defibrillator shocking them back to life. Animal I is just that good.

I tried, I really, really did, but Wild Pink and its self-titled release (Tiny Engines) had something I really couldn’t put my finger on with my first run through, but the boys from Brooklyn pieced together a collection of songs that fall short. I can’t say that there’s anything necessarily bad about the the album but there’s nothing that makes the group stand out from an assortment of bands that play every week at a local club. “How Do You Know If God Takes You Back” is probably the group’s strongest song on this 11-song collection of music but an attempt of changing the dynamics of songs fails to nudge listeners into a sense of wanting to listen to more of the album. And of wanting what? Something that doesn’t linger in mediocrity. There are moments the band nudges from a slowcore genre but there’s nothing interesting enough to keep my attention at least.  There are pop-punk sensibilities the band holds onto but doesn’t really work well. Songs ebb and flow from one direction to the other and I don’t feel the need to dwell on each track. “Nothing To Show” though has my attention. But then I realize it’s probably because it reminds me of Superchunk. But it’s more of a time that’s already forgotten in my head. Well, maybe next time… but not this time.

WildPink
Wild Pink – S/T

In the tradition of great singer-songwriters, Justin Carter seems to stick out like a sore thumb. Not because he’s better than the ones who have come before him, but it’s because although he’s traversed ground that’s been treaded previously, with his new album The Leaves Fall (Mister Saturday Night Records) I’m hard pressed to squeeze him into just any old sub-genre. No, some know Carter by his collaborative efforts with Eamon Harkin, as half of popular New York party and record label Mister Saturday Night but this release here, really isn’t much of a part of it. While it may be released on the label, The Leaves Fall is occasionally a haunting affair, with Justin’s sweet voice throughout it. The opus, “The Great Destroyer” opens the album with a simple and catch finger-picked guitar line with a cello suddenly entering as Justin’s delicate vocals sound like they would break apart at just about any moment. I can’t get enough of this song. Now while you may believe there’s more of the same to follow, that’s not what happens. The beat drives a number of these songs but fortunately it’s Justin Carter’s voice that reels everything in to streamline The Leaves Fall into a cohesive album. “Infinite Pieces” drown out the world with its syncopated rhythm over the rest of the music. Carter begins showing his easy flowed range here, and it doesn’t even sound like he’s trying too hard. It works though. And then it dips into “Know It All” where it goes back to the basics again with one instrument under his vocals. THIS is how we know there will be a reckoning with Justin Carter.

Justin Carter
Justin Carter – The Leaves Fall

He’s able to pull out all the stops on his songs in whichever mode he’s set to. Here I’m sure he’s fully aware of the beauty of his song structure, sprinkling it with background harmonies. It does sound as if he has a full orchestra behind him at times, and while he may utilize other musicians for their talent here and there, this is strictly a Justin Carter affair. “With The Old Breed” he makes everything sound so damned easy. Again, that feel of multi-person musical unity treads all throughout the song. This time around though, it’s the fragility of the music that threatens to fall apart.  But minds are blown with “Leaves” which don’t threaten to take the beat further, it just simply does. The odd-man-out of a track you’d be likely to find on the dance floor rather than a hipster coffee shop. It’s obvious the man can do it all which makes The Leaves Fall one of my favorite albums of the year.

 

 

Justin Carter – Facebook / Twitter / Instagram

Wild Pink – Facebook / Twitter / Instagram

Xiu Xiu – Facebook / Twitter / Instagram

Blank Square – Facebook / Twitter / Instagram

(Photo by RSDIVA Jessica)

In a gritty industrial area of Van Nuys, California, behind a powder-coating plant, lie a dozen neatly stacked repurposed shipping containers. One of these is ‘home’ to The Knitts, a band with a surprisingly long history and a short fuse, ready to explode onto the music scene with the release of their upcoming debut full-length album Retreat.

The origins of The Knitts go back to the final years of the Knitting Factory on Hollywood Boulevard in Los Angeles where Charlie Volkens worked in the box office while various future Knitts hung out at KF shows.  Now The Knitts are made up of the brothers Volkens – Justin (Vocals) and Charlie (guitar), along with Victor Portillo (lead guitar), Jaime “Jimmy” Luque (bass) and Clare Taylor Wilkes (drums).

The band had spent five years playing the show circuit, releasing multiple EPs and singles before linking up with producer and Grammy Award winner Michael Leonhart (Michael Leonhart Orchestra, Yoko Ono, Steely Dan) and engineer Pierre De Reeder (Rilo Kiley) to record Retreat. Recording took place in North Hollywood and Brooklyn, NY within a week’s time, in part because the tracks are ‘live in studio’ recordings capturing that raw energy The Knitts exude during their stage performances.

The Knitts Retreat will be available on digital and streaming formats March 3 via Knitting Factory Records.

Today, Ghettoblaster has the pleasure of sharing the jangley, swinger “We Got Time.” Justin Volkens had this to say about it:

“‘We Got Time’ was one of the first songs we wrote together as a band. Originally written as a duet quickly evolved into a down stroking garage rock track that forever altered how we say ‘We Got Time’ in everyday conversation.”

(Visit The Knitts here:

The Knitts websitehttp://www.knittsmusic.com

Facebookhttps://www.facebook.com/theknitts)

“I’ve spent most of my life making music but not enough time sharing it. This changes now. Life is magic. Do what you love.”

Those words are from Daniel Howie, former front-man of North Carolina’s alternative rock band Sugar Glyder.  Now branching out into his own, Howie has begun a new project Mouth Sounds.   Going with Howie’s cutting vocals, Mouth Sounds delves deeper into exploring elements of electronica and indie pop.

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Howie on the single “Slow DiMaggio”:

“This was by far the most collaborative song on the EP.  Mark Eckert and I pretty much put this track together in the studio.  My effort to sonically expand the breadth and range of the EP combined with Mark’s profound ability to write, produce, mix and collaborate.

“Design the world you want.  Clouds in the foreground.  Color outside the lines.  Die happy.  Violet skies.  Lions all line the shore.  Kid to a king and I…”

“Slow DiMaggio” will be featured on Mouth Sounds upcoming debut EP Sing or Swim, set for release on February 28 via Coast Records.

(For more on Mouth Sounds:

Facebook: www.facebook.com/mouthsoundsmusic
Instagram: www.instagram.com/mouth_sounds
Soundcloud: https://soundcloud.com/mouth-sounds)

(Photo by Alex Josephs)

Angelina Torreano forms the core of Citris with guitarist and producer Chris Krasnow. The 24 year old New York natives met in the fertile music scene of Purchase, New York, which has produced such beloved artists as Regina Spektor, Dan Deacon, and Mitski. Together, the pair set Torreano’s searching lyrics to an onslaught of distorted guitars and drums that recall ’90s rock greats like Hole, Garbage and Veruca Salt, as well as contemporaries like Dilly Dally, Bully and Courtney Barnett. Torreano and Krasnow play all the instruments on the album – live, the band is rounded out by drummer Clint Mobley and bassist Gianluca Minucci

This Friday, the band release a reissue of their debut album, Panic in Hampton Bays via New Professor Music. The evocative album title, which juxtaposes anxiety and a holiday getaway, is the central metaphor for this muscular, melodic record. Themes of mental illness, emotional abuse, and the inward search for meaning in the middle of the maelstrom also run throughout.

Today, Ghettoblaster has the pleasure of streaming the album for your listening pleasure. But first, this is what singer, guitarist and songwriter Torreano had to say about it.

“Panic In Hampton Bays is about chaos in a calm, luxurious place. One could say, ‘Trouble in Paradise.’ The underlying theme of the album is how one can deal with anxiety and other mental disorders and the journey that is living life with the enemy that can be your own mind, at times. It can be a blessing and a curse. It can be an opportunity to be strong. It can also damage your personal relationships. But ultimately, the people who deal with these issues everyday are some of the smartest, bravest people I know. And they are also a lot of fun. This album should read as fun, challenging, and real. Visceral and cerebral. Hitting all the right spots while being truthful. I don’t view this album as a downer at all, there always seems to be a resolution. And I think that’s what people need to hear now more than ever.”

(Visit Citris here:

http://www.newprofessormusic.com/.)

The One About Making Love

On this episode of Best Song Ever: the Dear LaBenne cousins get a visit from DJ Khaled,  Luke has some harsh words for the editor of Ghettoblaster Magazine, Brian tells a fun story about Tom Waits, Luke talks about his emotional reaction to Finding Dory and they have a couple conversations about mental illness.

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.

ITUNES LINK


Songs Played on The One About Making Love

Amber Arcades – It Changes from an upcoming EP out later this year

Ron Gallo –  Young Lady, You’re Scaring Me from Heavy Meta out now on New West Records

Tennis – Ladies Don’t Play Guitar from Yours Conditionally out March 10th on Mutually Detrimental

Myles Manley – Relax; Enjoy Your Night Upon the Town out now on Little L Records

Your Old Droog – G.K.A.C. from Packs out March 10th on Fat Beats

Little Comets – Common Things from Worhead out March 10th on The Smallest Label

Aye Nako – Particle Mace from Silver Haze out April 7th on Don Giovanni

Pool – Almost Everything from No Bad Memories out now

Within three months of their first rehearsal, I Am The Polish Army was in the studio with acclaimed engineer Charles Burst (Neko Case, Psychic Ills, Crystal Stilts) and were working through the songs which would eventually form the basis of the band’s debut record, My Old Man. Driven by a desire to reinvent the initial musical offerings that vocalist Emma DeCorsey had created, the trio, which includes bassist Turner Stough and drummer Eric Kuby, broke down each track to its base elements and reshaped them in the image of bands like Veruca Salt and The Breeders—groups who just so happened to be some of DeCorsey’s teenage heroes. Growling with guitars solos that are the work of longtime session musician and friend Dave Van Epp, as well as DeCorsey herself, these tracks developed a colossal emotional presence, resulting in the kind of redemptive catharsis that only occurs after some truly harrowing and life-shaking experiences.

Today, Ghettoblaster has the pleasure of premiering the official video one of these fiery, cathartic tunes, “You Don’t Know,” which you can enjoy below.

The video was directed by Stephen Donovan, (film maker, performer and designer, executive director of Mark Dendy Projects) and Tom Cole (co-director with ANOHNI of HOPELESSNESS live tour and tour video footage, and co-director of ANOHNI’s Music videos Crisis, I Don’t Love You Anymore, Marrow, and Obama) and features choreography by Mark Dendy .

This is what DeCorsey had to say about it:

“I have been collaborating on various projects in radio, theatre, and dance with Tom, Stephen, and Mark since 2010.

This video is heavily inspired by the film work of the late Chantal Ackerman (particularly her New York film News From Home). As it relates to the song, it is best summarized by Ackerman’s quote that serves as the opening epigraph: ‘I wrote a story that I liked. Everybody thought it was political. But it was just a normal love story.’

Shot on location in Manhattan, this involved quite a bit of returning to the scene of crime that inspired the song. We filmed on the actual street corner (The Bowery and Great Jones St.) where I was almost run over by the giant white Range Rover in 2013, as well as the actual ‘Ex’s House.'”

Embed –

"You Don't Know" I Am The Polish Army (Official Video) from Mark Dendy Projects on Vimeo.

The band has East Coast and Midwest tours scheduled for Spring and Summer of 2017, where they’ll work to bring their emotional rock cacophony and fervor to stages across the Unites States. I Am The Polish Army’s debut, My Old Man, will be released on March 31, 2017.

(Visit I Am The Polish Army here:

http://iamthepolisharmy.com http://facebook.com/iamthepolisharmy http://iamthepolisharmy.bandcamp.com)

It’s another Friday and this week a few friends have expressed how there’s a feeling of  dread when it comes to rock music. It’s difficult to argue that point considering just about everything you find on the radio is bland and has a mass pop appeal to it. But it’s something that always comes up and is a never-ending cycle. But you have to look past what’s in front of you and dig deep for something viable on your own. So of course, rock isn’t dead; that’s a hearty “no.” Real rock has always remained on the fringes and it’s something you have to search out. It occasionally falls on my lap , which I’m always appreciative of. Oh what a glorious week it’s been.

One band that’s been marginalized that more people need to be familiarized with is Meat Wave. Three guys from Chicago that formed the group back in 2011 who have released their third proper full-length as a unit. The Incessant (SideOne Dummy) is one record that I’ve been anticipating. The group’s last outing, 2015’s Delusion Moon, was one record I couldn’t get enough of. Forget that Albini produced it, you can’t force such powerful and great songwriting. What do we all get from the new album? More of the same. With Albini behind the boards, Meat Wave is reminiscent of those post-punk acts that came before them. It may have something to do with a few similarities in music but there’s no faking the approach with a take-no-prisoners attitude when the three members,  Chris Sutter (vocals/guitar), Joe Gac (bass), and Ryan Wizniak (drums), barrel through every song. The band kicks things off with “To Be Swayed,” with its mechanical rhythms beginning things but quickly turning a corner with Sutter’s screamed/sung vocals. The band pauses on a dime, then quickly explode ear drums again with the powerful “Tomosaki.” As soon as you interest is peaked, it’s gone and clears into a fantastic “Run You Out.” The first three tracks run about, or just under, the 2-minute mark; they’re perfect but leave you begging for more.

meat wave
Meat Wave – The Incessant

When the track starts up, the kid gloves come off and the band takes a stab at hypnotizing listeners with a frenetic beat and frenzied guitar work. By this point I’m not even half way through the album and I’m in hook, line and sinker. Jumping around tracks like I normally do, “Glass Teeth” differs a bit softly crescendo’ing into a sonic beast of a song. Where there was some room to breath, the trio encapsulates the track in a blissful tryst full of jackhammers and sugar cookies. The title track might be the odd man out here within the 12-songs of the album, a little slower with the occasional burst of distorted guitars wrapped under Sutter’s vocals. Different, but after a few listens it seems to fit in more than I thought it would. The Incessant is more complex then you might think upon that first listen but its infectiousness is unrelenting.

My cousin turned me onto Hanni El Khatib some years ago when he released his debut Will The Guns Come Out. That release was pretty stark but had charm to it. “Loved Ones” still remains one of my favorite songs of Khatib’s. With the release of new material,  I was a little skeptical about his album Savage Times (Innovative Leisure.) I’m always left with a feeling of dread believing that a good thing never lasts. BUT, that’s not the case. When I first listened to the album I hit my social media with, “I fucks with Hanni El Khatib.” Yeah, this album is no fucking joke.

HEK ST
Hanni El Khatib – Savage Times

There has to be something amazing about someone who does things that hes never attempted before, from playing instruments he’s never played before to creating a collection of limited 10″ vinyl records that make up the 19-song collection of Savage Times. You’ll find yourself in familiar territory catching Khatib’s trademark rhythmic blues, opening things up with an explosive “Baby’s Ok” where Khatib’s simple delivery of lyrics “I was high as fuck,” he repeats without being repetitious. Then again, he doesn’t need much more than that here. What may surprise listeners are his lyrics on songs that are culturally relevant and have more social commentary than he’d probably want to let on. “Born Brown” is a thunderous, repetitive track where Khatib howls what he’s about, acknowledging his Palestinian and Filipino heritage, how his parents emigrated to the U.S., and the hard work they put in. There’s no other way to put it, he may play that dirty rock n roll but he was born brown. This is only the beginning though.  The quick-paced “Mangos & Rice,” gives you a small insight into not only what he was fed as a child but how it just may be  a cultural factor many just won’t understand. He’s putting that stamp on himself that in 2017 he’s the son of immigrants. Khatib takes things even farther with “Gun Clap Hero, ” a little more musically subdued but reflecting on gun culture in America, most notably how freely they’re used by law enforcement. He uses his words cleverly, not always calling them out directly until he sings, “Watch for the sirens/ They follow us/ everywhere that I turn I see them/ In the squad cars looking like demons.” It’s an amazing protest song without sounding like a protest song.

Everything is pretty direct here on Savage Times, as he drives through the garage rock he’s become so familiarized with. “Paralyzed” has him sounding more Rolling Stones than Mick Jagger while “Miracle” walks through a more frequented route he’s traveled down. Just him and his guitar when in reality, there isn’t anything else he needs. There are a number of different sides to Khatib on this 19-track opus as he shifts dynamics from song to song like on “Mondo And His Makeup” where he’s not averse to turning up the volume to 11 and throwing keyboards to accentuate that bluesy rawk! In all though, Hanni El Khatib has done something different here so new and old fans alike should be clamoring for more of him after listening to Savage Times. So yeah, I still fucks with Hanni El Khatib.

Now that brings us to Jonwayne,  and the adversity in his life. As a direct result, that same adversity  was the driving force for his record, Rap Album Two (The Order Label.) This album comes after a self-imposed hiatus that lasted a couple of years. Sometimes you’re hand is forced when there are situations that you can’t control. A bout with alcohol addiction will do that to you. That’s what happened to Jonwayne. He’s even gone on record in an open letter on social media. This is what he’s done; it’s what we all should do when we’re on top of the world and then it crashes around you. You have to pick yourself up and reassess. Now with this release expectations are quickly pushed off the curb. If you expected a depressed look at life, that’s not what we get here.

Jonwayne
Jonwayne – Rap Album Two

He’s put together 12 tracks of easy flowed tracks that never force an attack but rather gradually take you on a journey with his words that’ll have you visualizing what he’s dreaming on with the prowess of a master storyteller.  One track that stands out this way is “Out Of Sight,” which ebbs and flows with the calmness of cool breeze on a beach. Jonwayne is reflective on how he’s led his life, with the gains and the losses being what they are. It’s a beautifully done number that I keep coming back to. “Live From The Fuck You” marks his return, beginning with a dialogue between him and someone attempting to get him to rap for his girlfriend before he just agrees and spits knowledge. But damn if this album doesn’t continue with tracks that slowly build around Jonwayne’s voice. Musically “City Voice” always sounds like it’s going to explode into something huge but Jonwayne just rides that beat and current until it ends. You’re able to grasp onto every word he shares with that beautifully rainy melody.  Rap Album Two just has that watery feel throughout it, which makes me think here’s he’s just all about washing away the negative past and focusing on the future. “Afraid Of Us (feat. Zoroh)” even tracks moves he’s made in the past and is a bit self-deprecating while Zoroh holds down the melody. But it’s “Blue Green (feat. Low Leaf)” where he puts that open letter to music, obviously changing lyrics to fit but the concept is there, reflecting on what he’s done to get where he’s left standing. You can feel his words cutting deeply throughout Rap Album Two but it doesn’t leave listeners wallowing in self-pity alongside him. It’s a story of survival, which many can relate to. At least I can. This right here, isn’t something to be taken lightly.

 

JonwayneFacebook / Twitter / Instagram

Hanni El KhatibFacebook / Twitter / Instagram

Meat WaveFacebook / Twitter / Instagram

On the heels of the release of Chill, Dummy it happened. P.O.S. shares a new video for “Bully” featuring two other Minneapolis performers, Rapper Hooks and Moncelas Boston. The track is an aggressive number, and doesn’t shy away from their call to arms “The world is yours/Fuck it, until it’s mine/Get out of mine/Get out of mine..BULLY.” They’ve planned for the takeover and they’re slowly moving into your town.

POS-tour

 

The One Where Luke is a Nasty Woman

On this episode of Best Song Ever: the Dear LaBenne cousins kick things off with their first ever bonus track, DJ Khaled visits the Doom Tomb to give us a labelmate alert, Brian calls Luke a nasty woman several times, finally another episode of Thor Talk premiers with a special new surprise, and much much more!

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.

ITUNES LINK


Songs Played on The One Where Luke is a Nasty Woman

Animal Collective – Kinda Bonkers from Painters EP out this Friday February 17 on Domino

Delicate Steve – Cartoon Rock from This is Steve out now on Anti-

Los Angeles Police Department – Plane 2 from an upcoming album due later this year on Anti-

Fancey – Baby Sunshine from Love Mirage out now on fanceymusic.com

Paul White featuring Danny Brown from Accelerator EP out now on R&S

Temples – Strange or Be Forgotten from Volcano out March 3rd on Fat Possum Records

Middle Children – Fish from Earth Angel out March 3rd on Let’s Pretend

Happyness – Falling Down from Write It Out out April 14th on Moshi Moshi Records

Jesca Hoop – Memories Are Now from Memories Are Now out now on Sub Pop Records