with A Place To Bury Strangers
This is the semi-factual promotional biography for the semi-professional rock & roll band Japandroids. It was written in 2012 by Brian King at the behest of Polyvinyl Record Co., and describes in detail all matters of concern with respect to Japandroids' 2nd album Celebration Rock. It is the second semi-factual promotional biography written by Brian King at the behest of Polyvinyl Record Co., the first describing in detail all matters of concern with respect to Japandroids' 1st album Post-Nothing. For convenience sake, the aforementioned document has been distilled into two concise paragraphs as to negate redundancy as much as possible, while at the same time provide the necessary context by which to appreciate the existence of Celebration Rock, irrespective of its quality:
Japandroids is a two piece band from Vancouver, BC. This 'band' started in 2006 and consists of Brian King and David Prowse. Originally intending to be a trio, the boys decided to forego the logistical nightmare of having a 'lead singer' and do it themselves. As a consequence, Japandroids are one guitar, one set of drums, and two vocalizers. Japandroids are maximal - a two piece band trying to sound like its a five piece band. Their 'songs' run the gauntlet of rock & roll sub-genres, with the boys ripping off too many different bands to sound like any other duo making music right now.
After self-releasing two EPs, 2007's All Lies and 2008's Lullaby Death Jams, Japandroids released their critically acclaimed debut album Post-Nothing via Polyvinyl Record Co. in 2009. The boys toured extensively throughout 2009â€“2010, playing over 200 shows in more than 20 countries, and quickly gained notoriety for their extremely energetic live performances. Finding it difficult to write and record a second album in the midst of such a heavy touring schedule, Japandroids released a series of 7'' singles throughout 2010, each one recorded during a brief interval between tours. The same year, Japandroids re-released their first two EPs as a compilation titled No Singles, which included a booklet detailing their early history.
with Eisley, HRVRD, Northern Faces
Say Anything has been making odd, unclassifiable indie rock music since they were 14 or 15 years old, playing strangely literate and loud rock, characterized by what one might imagine if Larry David fronted a Fugazi cover band with the members of Queen. Not that that's a stretch or anything. Having been birthed from the indie/punk boom of the early twenty-first century, Say Anything rose to prominence with their (oddly) popular record â€¦Is a Real Boy and somehow broke the "pretty boy punk" mold by establishing a career that thrived somewhere between music your pretentious college student of an older brother would like and the loud crap that your little brother uses to annoy him with. Say Anything followed that record up with the equally eclectic and lengthy, In Defense of the Genre and their exceedingly bratty (hopefully in a good way) self-titled LP.
All together, those records sold almost half a million copies and were illegally downloaded by even more people, who were too broke to pay for them but still really dug the band. Those listeners did however, care enough to go see Say Anything play, which allowed for them to contribute to a reliably chaotic, cathartic live experience. Say Anything has toured heavily with other weird bands such as Thrice, Manchester Orchestra, mewithoutYou, Saves the Day, Biffy Clyro and Eisley, among many others, and has established themselves as one of the few bands nowadays who end up as sweaty, busted up and bruised after a show as the people who are actually watching them.
After ending a long relationship with the large corporation who put out their records for many years, Say Anything has signed with the amazing and independent label, Equal Vision Records - who actually want the band to play whatever they want to play and have it be as neurotic and strange as they want it to be. Say Anything will record their fourth studio album in August 2011 with Tim O'Heir (the eccentric and brilliant gentleman who produced their first record) and has committed to playing music in this band until they finally, once again, are forced to wear diapers.
with Matt Lange
This 20-year-old talent has been touted by his peers (read TiÃ«sto, Skrillex and Deadmau5) as one of the nu-breed saviors of electronic music, and having only experienced the limelight for a short amount of time, his achievements paint the picture of a bright future.
2011 saw Porter achieve what some do in an entire career. He provided tour support to TiÃ«sto and Skrillex, as well as debut appearances at Electric Daisy Carnival, Ultra Music Festival and Electric Zoo that led to him entering DJ Magâ€™s Top 100 and the Billboard Top 21 Under 21 chart. His Spitfire EP, which crashed Beatportâ€™s servers on release, smashed its way to the #1 position in the process and held fort for 2 weeks solid. Add in a couple official remixes for Lady Gaga and Avicii, and one would think things could not get bigger for the young musician.
However, 2012 saw Porter growing even further with appearances in top-billed slots on those same festivals plus Coachella, Tomorrowland, Creamfields and Lollapalooza. He began residencies at XS and Surrender in Las Vegas, made a European headline tour debut, spun a live Essential Mix on BBC Radio 1, and released the hit single â€œLanguageâ€ to great acclaim and constant radio spins around the world â€“ not to mention #1 spots on the Beatport Overall and iTunes Dance charts.
As Porter wraps up his summer North American headline tour, he looks forward to scheduling a new batch of releases â€“ including a slew of exciting collaboration tracks â€“ and the rest of what is sure to be a thrilling year.
About Promoting & Unifying the Austin Dance Community Through An Amazing Dance Showcase Benefiting the Cystic Fibrosis Foundation!
Weâ€™re at it again! Following the incredible success of Austinâ€™s 2nd Choreographerâ€™s Ball, benefiting the CysticFibrosis Foundation, our team of volunteers have been hard at work to make this yearâ€™s benefit event an even bigger hit- I am eager to announce the date for our 3rd annual Dance To Breathe event:
Sunday, June 9th, 6:00 pm
Dance to Breathe 2013 will be held at Emoâ€™s Austin, Austinâ€™s newest performance venue with state-of-theart lighting and sound and a capacity of up to 1700 people. Here in Austin, we have ACL, SXSW, Art City Austin and a multitude of open mics for musicians, songwriters, poets, artists and thespians alike. But what outlets are available to a choreographer who strives to experiment and share in raw creativity and expression? Our solution: parallel the dance explosion of L.A. and throw a Choreographerâ€™s Ball! At the benefit, you can look forward to seeing incredible performances by some of Austinâ€™s top professional choreographers in a variety of genres and enjoy beverages from the cash bar in a relaxed, hip downtown setting. A portion of all proceeds raised will go directly to the Cystic Fibrosis Foundation. We are expecting an attendance level of at least 1,000 individuals. However, with our marketing efforts and even more talent already auditioning to perform, we anticipate that number to be much higher.
You may ask, why the Cystic Fibrosis Foundation? A student of mine, Amanda Trippet Brown, explained last year that she took dance classes not only for the fun and fitness, but also as a way to increase her lung capacity. At that time, her lung capacity was running at a mere 60%. Imagine, not being able to take a deep breath without coughing and wheezing. I was blown away, for as a dancer, I could not imagine life under a constant shortness of breath. In hosting Dance to Breathe, we aim to help fund the foundation that could one day find a cure for Cystic Fibrosis and wonderful people like Amanda.
1. To raise awareness and funding for the Cystic Fibrosis Foundation.
2. To bring a sincere unity and acknowledgement to the eclectic and powerful dance scene that often goes overlooked in Austin.
The name might as well be a movie title: Twin Shadow in Forget. Only it's not a movie; it's a panoramic LP that introduces us to the twilight zone tale of George Lewis Jr.
The troubled son of a hairdresser and a "teacher who lived many lives" (semi-pro football, massage therapy, film maker and other things we'll tell you about when you're older), George was born in the Dominican Republic and spent his formative years in Florida. Not in a happening spot like Miami, though. Try an island that happened to be the winter home base of the Ringling Brothers' Circus and palm tree-flanked old people.
If you think that's strange? You don't know the half of it. And neither does George, although he's trying to remember; trying to piece the sepia-toned scenes together along with a debut album that's all about letting go. Or is it? Like an art-house double feature that leaves you wondering what the hell just happened in the best way possible, Forget tells a spellbinding story without spelling everything out.
Forget isn't tethered to any trends or specific genre, either. Instead, it seems almost to be hovering above the landscape of decades gone past; checking in at rest stops with it's wheels pointed directly toward the future. So don't be surprised to hear things abruptly shift from synth-swept soundscapes ("I Can't Wait," "Castles In the Snow") to glimmers of gossamer dance music ("For Now," "Shooting Holes At the Moon") or full-on power balladry ("Slow").
And who is that sitting next to George's director's chair? Chris Taylor of Grizzly Bear in the role of producer, working closely with Twin Shadow, fine-tuning Forget's special effects while maintaining the memory-wracked mood that George spent months perfecting in his Brooklyn apartment. Brooklyn based label Terrible Records will be taking Twin Shadow's Forget on as their very first LP release.
"It's bedroom recorded music, but it's been done with the same attention as many classic B-movies," he says. "It's not like a slapdash home video, though; it's someone operating with very little at 100-percent of their ability."
In other words, Forget is like The Seventh Seal filtered through the drive-in feel of Faster, Pussycat! Kill! Kill!. Meaning: lots of tight shots, careful lighting, and a lingering sense that something's not quite right, a film adaptation of George's life that's essentially a 40-minute waking dream.
01 Tyrant Destroyed
02 When We're Dancing
03 I Can't Wait
04 Shooting Holes at the Moon
05 At My Heels
06 Yellow Balloon
07 Tether Beat
08 Castles in the Snow
09 For Now
with Chance the Rapper, Vince Staples & More
with Breathe Carolina, T. Mills & More!
with Northern Faces
with K.Flay and Sirah
Swedish electro-pop duo Icona Pop feature best friends Aino Jawo and Caroline Hjelt. The group first came to notice with the 2010 KitsunÃ© single "Manners," which was sampled on Chiddy Bang's 2011 song "Mind Your Manners"; the song reached number 19 on Billboard's Heatseekers chart and appeared on the hip-hop duo's debut album, Breakfast. That year, Icona Pop also released the Nights Like This EP, which included "Manners" and "Sun Goes Down," a collaboration with the production team the Knocks, along with the title track. After performing on the European festival circuit and making their live U.S. debut in 2012, Icona Pop released their second EP, The Iconic, which featured the hit single "I Love It," that September as a digital download. The Iconic received a physical release in early 2013, and the duo's first full-length was scheduled for 2013.