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We’re honored to trot out a number of world broadcast premieres from TBTCI Records. Renato Malizia has once again outdone himself, stitching together a new and exclusive compilation of dreamy, bendy tunes entitled, Come On Feel The NoiZe, BraZil Class ’17, released on Bandcamp June 9th. If you listen to DKFM, you’ll be well familiar with most of these artists: The Sorry Shop, Kid Foguete, Céus de Abril, Justine Never Knew The Rules, Loomer, Duelectrum, The Us and so many more. These are the artists who’ve spent the last half-decade lighting up Latin America, and lighting up our airwaves. Carefully curated (as usual) by Renato Malizia, this stands as a testimonial to the “deep bench” and incredible talent of these breakthrough artists.

From 10 am to 5 pm PDT (1p-8p Eastern), DJs Heretic and Ariel will season our regular programming with multiple world premieres from this landmark compilation. Of course, you’ll hear all of it during the New Tracks Weekend extravaganza, but, on the day of its release, it seems appropriate to call attention to and celebrate this unique album, and the hard work being done by TBTCI and these top-quality artists.

The full album is available June 9th, via the TBTCI Records Bandcamp site, and it’s a jewel. Congratulations to Renato for pulling together another epic release!

This month’s new release buzz has all been about Nothing and Pity Sex. And there’s nowt wrong with that. Both are road warriors who’ve earned their audience, and their acclaim. May we add to this esteemed group an artist who has spent years honing and sharpening an amazing sound: Dale Humphries’ Voices From Deep Below. Their fourth studio LP, This Place Will Raise Up, is woozy, tuneful, and fully anthemic. If you’re a fan of this sound (you’d probably not be reading this if you weren’t), we’d frankly dare you not to fall in love. Press play, and read on.

Drop the needle on the album’s opener, “Wait There”, and the journey begins. If it seems that journey has begun with you waking up from a cough syrup hangover, that’s not unintentional. You’re asked to lose your bearings, and give in to dizziness, right from the get-go. Once you’re sufficiently off-balance, as though you’d been spun around blindfolded repeatedly, you’ve got the right state of mind for what follows. Not that “Wait There” is simply to be skipped over, quite the contrary: its lush, watery tones and slow churn make this perhaps the shiniest jewel among the stones. If the whole album sounded like a 40-minute exploration of this structure alone, I don’t think you’d hear many complaints.

“We Are The Same” opens with expansive power chords, accessible hooks, and an overall “bigness” that put this project on par with some of the new heavyweights in the genre. “This Place Will Raise Up” ratchets up the anthemic quality, but without sacrificing any of the delicious quirkiness that makes the effort so rewarding. “Radiate” is the sound of the sun setting over the hills behind the metroplex, expansive and brooding. By the time you reach “Merge”, with its nostalgic feels set to a shuffle beat, if you haven’t fallen yet, we can’t help you.

This is a great album to break up to, to fall in love to, to go on a life adventure with. Voices from Deep Below have been putting out compelling tunes for a while now. If you’ve allowed Dale Humphries’ output to pass by your radar, it’s probably well past time you caught up. The album is a free download, but this is an effort that deserves to have money and praise lavished on it. This Place Will Raise Up is a hidden jewel that shouldn’t be hidden.

This Place Will Raise Up is available for download at the Voices from Deep Below Bandcamp, follow them at their website, on Twitter and Facebook. Fall right now.

We’ve been stalking Melbourne’s hazy Crimsonettes for six months now. Early Soundcloud posts let us know there was something sparkly going on here, and all we had to do was wait for an official release date. We even begged for a pre-release track to push on air, which they graciously allowed for. Now they’ve finally released the EP they’ve promised, and it’s a stunner. Sickly Sweet EP released to Bandcamp on October 29th, and allows for no filler. Our closest reference point to this sonic swell is classic Waldo & Marsha, or perhaps Slowdive with stronger lead lines. Part dream-pop wash, part hazy shoegaze, with hints of neo-psych, all are wrapped up in a strong pop sensibility. Both male and female vocals round out the presentation, sometimes separated, sometimes forming a sugar-drenched chorus.


Each Crimsonettes track unfolds at its own pace, usually beginning quietly, mildly, then building to massive walls of melody and sound. The title track alone is a great example of the technique, and the blueprint for all that comes after. This music isn’t intended to challenge you, so much as draw you in and envelop you. For a debut EP, Sickly Sweet is pretty much everything we’d counted on. Expect this to crack more than a few end-of-year Top Ten lists.




Stalk Crimsonettes on Facebook and Twitter, and purchase “Sickly Sweet EP” on Bandcamp now. No, not later, now. As close to nowish as possible.

All of four hours old, the amazingly tuneful Star Horse released the video for their new single, “Slower Now”. While we’re traditionally not “about” videos, it’s always amazing to see a credible independent band grab the medium by the horns and shake it. And last week’s release of the towering single cried out for some panoramic vistas and gritty accents. Classic 80’s/90’s basslines uplift slightly off-kilter chords, leading to Maja Thunberg’s sweet harmonies in the chorus. Certainly “Slower Now” will be in consideration for top 50 end-of-year lists when it’s all said and done.

For Sweden’s Star Horse, it’s an amazing refinement of their sound, and welcomes newcomers to explore the brilliant world they inhabit. It’s hard not to cheer from the sidelines when a really talented band comes into their own. Star Horse is NOW.

Check out Star Horse releases on Bandcamp, and follow them on YouTube, Facebook and Twitter.


crisis-arm-fetchIn the middle of the night, Santa snuck in and dropped the new release from Crisis Arm, Fetch. Perhaps their most confident, self-assured release to date, Crisis Arm continues to evolve melodically and structurally. You’ve heard several choice cuts in permanent rotation on our air, now’s your chance to get your own copy (finally), and at a name-your-price flagyl sale online format, you really can’t lose!

Cassette release expected shortly via the Perpetual Bullshit label, release date not yet finalized. Crisis Arm have scheduled several West Coast dates to coincide with the release, so if you’re in the area, gotta check ’em out!

Grab Fetch via Crisis Arm’s Bandcamp site, follow them on Facebook and the Twitter machine.

School starts up soon for some, not until September for others. As we approach the last solid month of summer vacation, we present to you our list of the top ten essential summer sounds, suitable for loading up on your iPod and heading to the mountains, or the beach perhaps. We guarantee you’ll find something to fall in love with.

10. Trementina – “Not Everybody It’s the Same”, “Makes Me Think”, “Over All”.
Three whole songs, broken into two separate releases, this is one of the most promising debuts of any band from any nation. Worth seeking out. You’ll join their fan club in no time. Free download via Latino America Shoegaze, also on the band’s Soundcloud page.

9. Landing – II. Celebrating their 15-year anniversary, Landing does what they do. They do it better than everyone else. Start a groove, build and build upon it, and before you know, you’re hooked. It’s their world, we’re just living in it. Climb on, strap in, take the ride. Landing – II available only on cassette during their summer tour (victory lap?), will be available for wider release on their Bandcamp when they return home.

8. Tape Waves – Tape Waves EP. At first listen, it may seem slight. Jarod Weldin and Kim Hart deliver dream pop hooks with lilt and nuance (and just a hint of Twin Peaks-style dreaminess). Take it to the beach at dusk for maximum impact.

7. Grand Resort – Memory Loss EP. Fresh this month, and seriously sparkly. Jangly guitars and propulsive rhythms carry you away on a wash of melody. Another one we didn’t see coming until it wouldn’t let go.

6. Weekend – Jinx. Sure, it’s designed to reach a mass audience. Sure, it’s more post-punk than shoegaze. Weekend had some big aspirations with this, and they met the challenge. Sure to please the indie kids, the shoegaze-heads, and not offend your mom. Probably.

5. Wild Smiles – Take Me Away EP. These folks write some of the most compelling lo-fi tunes you’ll ever hear. We waited for this one, and it was worth it. Don’t be surprised if your toes start tapping and your head starts bobbing. It’s out of your control. Give in. Wickedly infectious.

4. True Widow – Circumambulation. Dirty. Fuzzy. Scuzzy. Repetitive. Insistent. There’s nothing fresh about this sound, it’s more like a stale, claustrophobic room with the drapes drawn. But you just can’t leave. Yeah, it’s like that. ‘Stonegaze’ is their sound, and they’ve mastered it. You’ve got to hand it to a band that sets their own rules and follows no trend. Aggressively priced for eMusic members at $3.92.

3. Picnic – The Weather’s Fine. Dense, dreamy, textured, lovely. A surprise staple that crept into rotation and hung on. It’s a beautiful dreamscape to visit, you’ll want to move there if you could.

2. Pity Sex – Feast of Love. You might be tempted to dismiss a release that came with this much hype attached before the actual release. Pity Sex BROUGHT IT, and proved the doubters wrong. Angular and chaotic at times, but compelling, always.

1. suā – Twins EP. With “Welcome” and “Twins” acting as cornerstones, this EP sometimes softly caresses, sometimes sandpapers you, but always demands your attention and admiration. The band has no weak links, their songwriting has become stellar, and they don’t compromise. That’s good news for the rest of us. Brooklyn owns the summer, if not the year, in 2013.

What will the fall bring? Look forward to The Stargazer Lilies new album, possible new DIIV, long-awaited Solar Powered People, new music from Crisis Arm, more from Nothing, plus Slowdive’s Neil Halstead and Seefeel’s Mark Van Hoen collaborate on their new project, Black Hearted Brother, offered here:

Happy listening, and here’s to a great year in shoegaze and dream pop music!

suacoverInitially, it’s a little hard to pin down Brooklyn’s Suā (pronounced: sway). When we first heard their self-titled EP in December, we could tell there was a lot going on. Masterfully bending time and tempo changes, not afraid to take stylistic risks in the middle of a tune, and with the confidence that only mastery of their instruments can provide, Suā blew through four songs that were both angular and breezy at the same time.

Now, all signs point to the idea that Suā is about to break out. Big. Tight, propulsive rhythms, guitar flourishes that owe as much to Robin Guthrie as to Kevin Shields, and that smoky voice laying over the top of it all. Suā is coming out hard. You’ve been warned.

The new EP “Twins” is set for digital release July 16, and a physical release later this month. On the eve of their newest, lushest and most accessible music yet, we chatted up this talented crew to find out what makes them tick.


Suki: vocals
Brian: guitar
Leigh: guitar
Oleg: bass
Cinque: drums
DKFM: First question we’ve been asked about you, the band name itself. What does it mean, where does it come from?

Suki: It comes from the Chinese word for sleep, which is usually spelled “shui.”
Leigh: We just liked the way it looked this way better.

DKFM: Given the talents each of you bring to the table, you’ve all come from other bands before arriving here? What kind of music did you play?

Cinque: All kinds of bands…everything, really.
Leigh: He’s a jack of all trades.
Brian: Leigh and I started this band around 5 years ago actually.  It’s changed a lot since then…but we all played different kinds of music over the years.

DKFM: We’d love for each of you to cite the biggest influence on you as musicians.

Oleg: Well, friends of mine got me back into playing music again around 4 years ago after some time off. In particular this heavy folk band from Connecticut, Call it Arson inspired me to start playing again.
Suki: Guided by Voices made me want to write pop songs
Cinque: Max Roach and Bjork
Leigh: Pixies. I learned a lot from them.
Brian: Fania All-Stars

DKFM: How did this group of talents finally come together?

Cinque: We fucked and fucked.
Suki: It was really a spiritual orgy.
Brian: We all met through mutual friends in Queens.  Even Suki.
Leigh: Brian and I met at PacSun
Cinque: That sucks.

DKFM: What we’ve heard of the new EP sounds pretty masterful. What do you think it’ll take to be able to finally say, as a band, “Suā is a success”? When will you know you’ve reached your goals?

Suki: When we get a song on “Girls.”
Oleg: When making music is how I make my living
Cinque: When I get to add pages to my passport
Leigh:  When I’m sponsored and get free gear.

DKFM: What’s on your iPods right now?
Leigh:  Queens of the Stone Age
Oleg: Swervedriver
Suki: Jon Hopkins
Brian: The Radio Dept.
Cinque: Ol’ Dirty Bastard
DKFM: What comes after the new EP? Touring plans? Or straight back to songwriting?

Leigh: Playing a lot of shows, getting our name out there.
Cinque: Spreading our musical seed.
Brian: Writing more.
Suki:  I wanna play CMJ again.  And SXSW next year.

DKFM: Fluffy question: what do you like to do in your spare time?

Brian: I play video games
Oleg:  Playing guitar and reading
Suki:  I read often and I go to a lot of shows
Leigh:  More music.
Cinque:  Drums.  And rock climbing.

DKFM: Anything else you’d like to tell your new fans about your plans, independent music, life in general?
Leigh: Well, we’re really proud of the EP we’re releasing.  We did everything ourselves and are excited for you all to hear it.
Suki:  We’re planning to press vinyl…
Leigh: We want to release another record later this year, too.
Brian: Our first full-length, we hope…

You can find Suā music on Bandcamp, interact with them on Facebook and Twitter. Then you can say you were there before they got big. ;

Radio friendly? Not on your life. The wall of distortion, the dissonance, the sheer caterwaul that threatens to break the world apart doesn’t make for party music, unless your party is a particularly nihilistic one. This is the niche that The Julia Sound carved out, and pretty well mastered. The clever neo-disco rhythm that opens “Bash Her Head” only politely drags you into the maelstrom, as the distortion slips in and threatens to knock the taste right out of your mouth. Experimental, adventurous, noisy. For some of us, this is sweet candy. Dropping a double b-side only adds to the absurdity and boldness of the adventure. The Julia Sound’s cover of A.R.Kane’s “When You’re Sad” is a treat in its own right.

Sure, we could complain they only drop hints of brilliance once a year. Our guess is they keep expecting to destroy the world with their sound, only coming back to finish the job.

Find The Julia Sound on Facebook, and their Bandcamp site.

It certainly ain’t punk. Can’t rightly call it shoegaze. It’s more like a fever dream of haze and rhythm, laying catchy choruses on complex, fuzzy chords. Formed from the wreckage of two bands we’ve never heard of (okay, Night Manager and Ganglians, but we’ve already digressed), this …sound …made us stop everything and pay attention. It’s nothing you’re used to, but it demands your attention. I have no doubt the band members wouldn’t call it important, but we’d be hesitant not to. It’s properly produced but stanchly lo-fi, it’s tuneful but angular, and it has teeth. Bent, misshapen teeth, perhaps, but don’t be surprised if you get bit.

Posting one track. You’ll find the rest on their Bandcamp. We don’t love one of them more than the other, they’re all unique and twisted snowflakes. It’s just a sample. Stop being critical.

Find Blood Sister on Bandcamp
and on Facebook. Don’t say we didn’t warn you.

JScoverAt this hour, details are sketchy and incomplete about New York’s Jeanseburg. OFFICIALLY, here’s what we know: they’re a noise-pop, alternative rock band from New York. They’ve released one EP on Bandcamp on March 24th of this year, and two teaser tracks that preceded it. The EP itself is aptly titled EP. No further details are available. Not even a drivers’ license photo! While we’ve been spinning Jeanseburg since the first teaser tracks hit the aether, we realized there were scant few details about the band, its origins and influences, and plans for the future. What would explain the swirls of distortion and melody that make up Jeanseburg?

We could have approached this like CNN, by making stuff up and calling it an “exclusive!”, but thought it might be wiser instead to go to the source. We tracked down members of Jeanseburg and made them give up the goods, though we may have forgotten to read them their Miranda rights before proceeding.

DKFM: Who ARE you people? This beautiful music didn’t just make itself!

Franco Garcia (guitar): Hi there. First of all we would like to say a big thanks to DKFM and Greg for finding us and playing our songs in their radio station. It has been a very rewarding and unexpected reception since we are still figuring out our approach to the music and developing the Jeanseburg sound. We made these tracks in a very low budget setup with some basic recording software. We decided to post the songs online because they are the closest realization of the sounds we have been developing thus far.

Odanis Colón (guitar/vocals): As of now, we are a three-piece band from The Bronx, New York. Initially, we made the Bandcamp, SoundCloud, and Twitter page just for the heck of it. I was not anticipating a reaction from anyone, really. It was surprising enough for me to see some of our mutual friends say all sorts of nice things about it. Thank you for playing our music.

FG: You finding us and seeing other people enjoy the music has been extremely gratifying. It makes us more motivated to take the Jeanseburg project further.

DKFM: How did Jeanseburg come about?

FG: Jeanseburg simply started as an exchange of ideas between Odanis and I. Conversations of musicians, bands, and songs eventually turned into chats about tone, texture, and sonic landscapes. Then finally songs and recordings were created. I met Odanis a few years ago, probably sometime in 2010 through mutual friends. However long before that, we both used to be involved in the underground post-hardcore NYC music scene of the noughties when we were younger. The scene was essentially a melting pot of hardcore, punk, emo, and metal.

OC: We always went to the same show. We used to pass each other between sets.

FG: As the decade ended, so did the heyday of that genre. As our generation grew up so did everyone’s taste in music.

OC: After a bit of playful bickering and Frolicking about local gigs inside small New York City venues, I finally withdrew from the scene completely and decided to take part in something further abstract; no doubt very noisy and profoundly distorted. Franco and I started jamming soon afterward and that was that.

FG: I tend to be on the lookout for the newest music and honestly for a while my interest in guitar–based music peaked. The last guitar albums that I enjoyed were St Vincent – Strange Mercy and Converge – Axe to Fall. I thought the most interesting music being made in the past 3 or so years has been electronica and hip hop. Artists like the Clams Casino and Jai Paul have been ushering in this new wave of music that’s so interesting to me. So as a guitarist I found inspiration through exploring the past.

OC: Yea, I get most of my inspiration through admiring the previous eras. I’ve always been into the 90s alternative; I think most of your listeners would agree: “They just don’t music like this anymore.” Even during my post-punk phasing, I held Dinosaur Jr and Yo La Tengo as reference. It was not until I had discovered Explosions in the Sky that I began to use an excess amount of guitar effects; I thought they did some pretty neat stuff with their pedals.

FG: Personally, the most compelling thing that reignited my interest in guitar was the shoegaze genre. It explores another factor of music that I haven’t really considered before, “timbre”. Coming from a scene in which complicated riffs and shifting time signatures ruled, the idea of using the guitar as a layering tool, instead of a harmonic or melodic instrument, opened up new possibilities to me. In essence, I think the Jeanseburg sound is a response to the type of music we associated in our early years. It’s a reaction. We are doing a lot of things in the opposite manner that we used to do before, by aiming for simpler tunes with a more meticulous sound. I also personally feel like there’s a lack of that exciting rock n’ roll energy that I used to feel. However, I do find the band Savages extremely compelling in bringing some of that back. The lack of excitement and energy within ourselves droves us to experiment with music and Jeanseburg was what came about. I do hope that in the future when Jeanseburg performs live that we could produce the same visceral energetic experience I felt going to post-hardcore shows. I hope to express a similar intensity and emotion but with different music that is new and compelling to me.

DKFM: I could pile on a lot of hyperbole about what this music sounds like, but ultimately it’s about the sound itself. How would YOU describe your sound?

OC: I was going for a kind of musical turbulence that’ll pull you in. It’s a catchy pop rhythm with colorfully distorted layers. For the alert listener, I would add that it sounds very saturated; blurry, frizzy and clouded with reverb. The manipulation of guitar–noise–feedback is something we’ve procured over time we spent playing post–hardcore. For some, it’s hard to notice that connection, but it is indeed part of the equation. For now, that’s how I see it. We have plans to evolve our music into something more sinister, though we’ll probably maintain its “pop”.

FG: I could write for hours on what I would like Jeanseburg to sound like but to keep it short I would describe it as a vibe. Once you get past the lo-fi, it can put listeners into a heady space in which they can groove to.

DKFM: Jeanseburg, and actress Jean Seberg. What’s the connection (or inspiration)?

OC: Yes, we got the name from the actress and we pronounce it the same way. As we were coming up with an idea for a song, the title of one of her earlier films had come up. I always liked the concept of naming a band after someone. So I chose her name. We just altered the spelling. At first, we weren’t sure about keeping it. But it stuck around for so long we became accustomed to it.

DKFM: Day jobs? What do you do when you’re not making music?

FG: I just recently secured an office job in the affordable housing industry. It’s been great so far. Hopefully I can find a way to balance my job with the creative endeavors that I want to pursue.

OC: Living in NYC is very expensive and competitive. I continue to do a lot of entry-level stuff as I am still in the process of finishing school. I have a huge interest in Psychology and I plan on pursuing it further.

DKFM: What musical touchstones do you reference in your work? What artists inspired you to start a band?

FG: The one band that we always look up to is MBV. We are constantly trying to figure out how they get their sound and put our own spin on it. As of now the music is relatively simple. It is all about experimenting with tones and textures at this stage. So once we get a handle on that out we will start to incorporate other influences.

OC: I am actively inspired by many. But fundamentally, Jeanseburg stems from Slowdive and My Bloody Valentine (in that order).

DKFM: Plans to start playing live, or do you prefer the comforts of the studio?

FG: I think we both started to write music together just for the sake of getting back to playing live. It’s just that we are still trying to figure out the band; hence the early recordings.

OC: Our friend, Isaac, has been jamming with us on drums lately. He is great. He is adding this whole new dynamic to the music. After we become settled, live shows will soon be underway.

DKFM: The relative anonymity you’ve labored under thus far, has that been a conscious choice, or…?

OC: (Laughs)

FG: We were just so focused on the music; we forgot about all the other stuff.

In a just world, we have reached the end of anonymity for Jeanseburg starting… NOW.

Find Jeanseburg on Twitter.

Jeanseburg Facebook page.

Actual Jeanseburg music for streaming and purchase: Bandcamp.

And video, for those unable to listen to music without pictures: Jeanseburg YouTube.