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There is no break from the new, not now, not ever. We’re proudly pushing the newest albums from Cloakroom, Season of Strangers, Honeyrude, Black Nite Crash, A Certain Smile, and New Age Healers, new EPs from navyblue (pictured above), COSme, and DAZE, plus the freshest singles from Hypnotic Kingdom (ex Cheatahs), Yumi Zouma, Plasticstatic, Cat Hoch, Candace, Jeff Mannix and the Depressives, Sound of Ceres, Lubec, Hurricane Heart Attacks, Alvvays, We Are Parasols, Virgin Suicide, Wyldest and more. And that’s just the stuff we can remember!

That only adds to last week’s haul from Elsa, PARLOUR, Palm Haze, The Smilies, The Stargazer Lilies, WIDOWSPEAK, Intenna, Justine Never Knew the Rules, Black Sea, Acaena Eterna, FOREVR, HuanHuan, Previous Love, Thud, Todos tus tanques soviéticos and more. Not enough hours in the weekend…

New Tracks Weekend kicks off 8 pm Eastern, 5 pm Pacific, and continuing through Sunday at midnight Eastern, 9 Pacific. It’s the first weekend we’ll spin some of these tracks, and may be the last weekend for some others. Remember, you can listen listen via the station page at DKFM,  on Shoutcast, and on TuneIn Radio for iPhone/Android/Windows. Plus we have our branded apps for Apple’s iOSAndroid and Blackberry: listeners can vote thumbs-up/thumbs-down on all the new tracks, helping us determine what graduates to permanent rotation. Your voice counts! Or load up the “Internet Radio” tab of your iTunes desktop client, and you’ll find DKFM Shoegaze Radio under ‘Alternative’. You can even keep up with the new tracks and artists you may have missed, as we’re live-tweeting every track on our sub-Twitter DKFMTracks account. Now you’ll know what you heard, or catch up on what you missed. Keep up with our new Facebook group for real-time discussions of what you’ve heard, and sound off!

And, as always, thanks for listening, and thank you for your support!

Amidst a wash of new releases, we’re also beset with difficulties with our carrier network, which is collapsing and restarting servers along the chain. We soldier on. The new LP from Elsa (pictured above), plus the long-awaited return of PARLOUR (if it seems like it’s been years, you’re not far wrong). New music from Palm Haze, The Smilies, The Stargazer Lilies, WIDOWSPEAK, Intenna, Justine Never Knew the Rules, Black Sea, Acaena Eterna, FOREVR (genre shift in full effect, we’ll try to shuffle in the most relevant material), HuanHuan, Previous Love, Thud, Todos tus tanques soviéticos and much more. We’ll leave the light on for you, light a candle for us.

Not to neglect last weekend’s fresh additions, including Lowtide, Softsurf, Knifeplay, Crash City Saints, The Sorry Shop, Wildhoney, Todavia, The Luxembourg Signal, Surf Rock is Dead, Lazy Legs, Deerhoof, Soda Lilies, IO Echo, Alvvays, Honeyspider, Pure Ghost, Pia Fraus, Fringe, Walking Misery, Mossbreaker, Flying Cape Experience, thelakesidedrive and more. Booked, packed, overbooked.

New Tracks Weekend kicks off 8 pm Eastern, 5 pm Pacific, and continuing through Sunday at midnight Eastern, 9 Pacific. It’s the first weekend we’ll spin some of these tracks, and may be the last weekend for some others. Remember, you can listen listen via the station page at DKFM,  on Shoutcast, and on TuneIn Radio for iPhone/Android/Windows. Plus we have our branded apps for Apple’s iOSAndroid and Blackberry: listeners can vote thumbs-up/thumbs-down on all the new tracks, helping us determine what graduates to permanent rotation. Your voice counts! Or load up the “Internet Radio” tab of your iTunes desktop client, and you’ll find DKFM Shoegaze Radio under ‘Alternative’. You can even keep up with the new tracks and artists you may have missed, as we’re live-tweeting every track on our sub-Twitter DKFMTracks account. Now you’ll know what you heard, or catch up on what you missed. Keep up with our new Facebook group for real-time discussions of what you’ve heard, and sound off!

And, as always, thanks for listening, and thank you for your support!

Early 2015. DEAFCULT release their self-titled first EP. Opens up with the obvious single “BEEMOMUG“. Perhaps the best opening statement of a band this decade. The sound, the structure, the propulsion… it’s like being sweetly slapped upside the head. At our studios, we got the early release, and DEAFCULT won a permanent place in rotation, and in our hearts. Anyone and everyone we shared with had the same immediate reaction: this is special.

Fast forward to June of 2017, and DEAFCULT have capitalized on their early promise. Even with lineup changes and schedule challenges, they completed their first long-player, Auras, for Hobbledehoy. They’ve toured Australia extensively with the support of national media outlets, and garnered much critical praise (including our own Top Five lists) only two months later. We sat down with Innez and Stevie, who were gracious enough to answer our far-reaching questions, and expertly deal with our awkward sense of humor. Press ‘play’ on the album and follow along, won’t you?


DKFM:
Four guitars. Surely makes for an immense, epic sound. Do you ever wake up and think, “What the hell have we gotten ourselves into?” Like the old joke says, “Rush did it with only three people…” And do you ever run into each other on stage? 

Stevie: I think the four guitars is essential to the way DEAFCULT sounds. There’s four, very simple, almost mundane fractions that equate to a more complex whole. It’s worth the tight squeeze to get that result. It’s a sound that I’ve never personally heard before and enjoy the otherworldly nature of it. 
Innez: Earlier this year when Sean left the band, and I thought ‘ok maybe we can just go back to having three guitarists’ but then when we tried it out it just sounded wrong, like that extra element was missing. I think if we were to all go in, plug in and play, the outcome would sound awful! With this in mind we spend a lot of time on the different melodies and sounds and experiment quite a lot to get it to sound like it does. But yes, there’s still a bit of a shuffle around at each different venue to make sure we’re not whacking each other in the head. (laughs)

DKFM: This band seemed to form from the ashes of other quality acts, both in genre and “genre-adjacent”. Some names may not be familiar to our readers / listeners, but Roku Music springs to the top of the list. Do you see DEAFCULT as a sort of “shoegaze supergroup”? 

Stevie: Not really, Innez and Kelly are the only people in the band that previously played in Shoegazer bands. To me it’s like my own personal supergroup as I asked the people that I most wanted to play music with to be in the band! I feel very fortunate every time we play that they all agreed cause it’s super inspiring playing with my favourite musicians in Brisbane. 
Innez: I only knew Matt and Stevie (and now Kelly) before the band started so wasn’t really sure what type of music we would be creating together. Initially I thought Stevie was just asking me to work on a recording of his, so when we had our first rehearsal it was like, oh this is a thing, we’re  a band! Haha. That being said, I think Stevie has a natural talent in writing beautiful shoegaze/dream pop songs with heavier elements and for some reason all the songwriters in the band add different qualities from the genre that work well together. So to wrap up, we are an unexpected supergroup. (laughs)

DKFM: The debut EP certainly caught OUR attention immediately. No surprise, really, as that’s sort of our job. But it didn’t take long for even the “local luminaries” like Triple J to climb fully on board. Are you at all surprised with the love you seem to have earned right out of the starting gate, coming from around the world? 

Stevie: Oh without a doubt. Initially it was just a recording project. We never even thought people would actually hear it! It became this other thing though. When we actually heard the first record it was a surprise. “Oh right! That’s what we are?!” It seemed too unusual not to explore what it was further. 
Innez: It’s been really surprising and exciting! Shoegaze fans are so passionate about the genre and the music being released. There are so many amazing bands in the scene; I kind of can’t believe the attention we’ve received so far. Thank you for all the love and support! 

DKFM: While others focus on guitars, pedals, reverb, building a textural foundation for musical exploration, you start your process on acoustic guitar, writing accessible “pop” songs, only adding layers later in the process. What are the advantages of this approach? I can only imagine sitting around on an Ovation acoustic, thinking, “This’ll be a stomping anthem!” 

Stevie: I think the roots of the band is still Pop music. You can stray away from that when you rely too heavily on effects. It’s nice to strip everything textural away and still have a good pop song there! Take away all the feedback and distortion from a Husker Du song and you have perfect pop songs, or add a layer of feedback and fuzz to a Ronettes song and you aren’t far away from the Mary Chain. 
Innez: I guess it just comes down to getting the foundations right for a band like DEAFCULT. There’s a fine line between good noise and bad noise you know?  At least for a band like us. We need that initial guitar rhythm to write the rest of the song around. Adding in a solid bass line and drums, then we can add the textural guitars, the cream on top. This just seems to work for us and if it ain’t broke, why fix it right?!?

DKFM: DEAFCULT is properly labeled as “noisy pop” or simply “noise pop”, yet many would lump you into both the shoegaze and dream pop categories.  Are you comfortable with those tags, with ANY tags, applied to your sound? 

Stevie: I don’t really think it’s that important how people categorise music. It’s easier for some people to put things into groups, which is fine! Other people just don’t worry about it. However you want to do it is cool I reckon. 
Innez: I think we’re pretty easy going when it comes to tags and being categorised. AURAS is a pretty varied record so could be labelled under a few different genres. Ultimately, if you like it and want to call it shoegaze, dream pop, whatever you like, go for it! 

DKFM: How long did Auras take to record and produce, and what was it like jumping from a well-regarded Bandcamp EP to a label-signed full album? 

Stevie: AURAS took a long time. We recorded it and then wanted to change it a year later. Hobbledehoy were very good about it, most labels would have freaked out at us. They waited a year for us to turn around and say we aren’t feeling this yet we are doing it again. The album’s complete, out now on Hobbledehoy, burning up the charts. 
Innez: Hobbledehoy are an incredible label with heaps of experience (and patience!) releasing records and working with bands so we’ve been really lucky to develop great friendships and working relationships through this release. I think we definitely did the right thing with re-recording the album, the songs are more realised with better performances, and everyone is happy with the outcome. We learnt a lot from the experience, so hopefully the next record won’t take quite so long. (laughs)

DKFM: Your headlining shows are booked (some already played) in Australia… any plans for an international tour, ala Flyying Colours? Probably made more difficult in your case, with six musicians… 

Stevie: We talk about it all the time. Sometimes it’s hard to see how we would translate overseas. It feels like we belong to Australia in some ways. We owe a lot to the people who come to shows here, the labels that have released our records and the community radio stations that have supported us since the day we started. But then we also owe a great deal to people like yourself who have helped push us further afield. It’s a beautiful network the alternative music world it’s nice to see that it’s still thriving on its own terms. 
Innez: We’d love to tour overseas! It is mostly the logistics and cost for a band of our size. But that being said we’ve had a lot of support from the US and Europe. It would be so awesome to make it over and meet the people supporting and emailing us! 

DKFM: Finally, do you have a “band philosophy”, something that unifies the band as a team, gets you through the good times and bad? 

Stevie: Communication is important. Telling each other how we feel. Bands are like family in some respects. We are there for each other during shitty times and we make each other laugh the rest of the time.
Innez: Yeah definitely communication, respect for each other and friendship keeps this band going. We’re all best mates at the end of the day!

Follow the Deafcult squad via their Bandcamp, label, Facebook, Twitter and Instagram channels, and we’ll keep spinning their tunes!

With a new single for 2017, Flying Cape Experience practice their unique brand of enchantment once again. Out now on El Vals del Conejo, “Fire Between Us” again sports an acoustic foundation, leaving the dream pop accents to the production and vocals, and a Moody Blues-like orchestration for the song’s climax. The art direction is classic, returning to simpler, gentler times.

“Fire Between Us” released 28 July, but the video accompaniment became available late yesterday. Follow Flying Cape Experience on Twitter and Facebook, and catch up with their back catalogue through the label page at El Vals del Conejo.

Packed in with all the new, all at once. Headliners include Lowtide, returning with a sparkling single, the rest of the new Softsurf debut EP makes it into rotation (finally!), new Knifeplay we’ve been buzzing about, pre-release music from the new Crash City Saints LP (previewed here), due next week. New treasures from The Sorry Shop, Wildhoney, Todavia, The Luxembourg Signal, Surf Rock is Dead, Lazy Legs, Widowspeak, Deerhoof, Soda Lilies, IO Echo, Alvvays, Honeyspider, Pure Ghost, Pia Fraus, Fringe, Walking Misery, Mossbreaker, Flying Cape Experience, plus we dive deep into the new LP from thelakesidedrive, which is filled with hazy, blissy moments. All of this, all in one week? Can’t really imagine how we fit it all into one weekend, frankly.

That’s only compounded by last weekend’s newest additions, including She Sir, Celldweller, Bleach Dream, Second Still, Barlow, Doorbells, bokunofune, Flashes, Life Model, Muskk, Sundowners, Castlebeat, FUR, Dactylion, FOREVR, Season of Strangers, The Wagner Logic, and Dots (・・・・・・・・・). We’d be better off playing them all at the same time, to get it all to fit.

New Tracks Weekend kicks off 8 pm Eastern, 5 pm Pacific, and continuing through Sunday at midnight Eastern, 9 Pacific. It’s the first weekend we’ll spin some of these tracks, and may be the last weekend for some others. Remember, you can listen listen via the station page at DKFM,  on Shoutcast, and on TuneIn Radio for iPhone/Android/Windows. Plus we have our branded apps for Apple’s iOSAndroid and Blackberry: listeners can vote thumbs-up/thumbs-down on all the new tracks, helping us determine what graduates to permanent rotation. Your voice counts! Or load up the “Internet Radio” tab of your iTunes desktop client, and you’ll find DKFM Shoegaze Radio under ‘Alternative’. You can even keep up with the new tracks and artists you may have missed, as we’re live-tweeting every track on our sub-Twitter DKFMTracks account. Now you’ll know what you heard, or catch up on what you missed. Keep up with our new Facebook group for real-time discussions of what you’ve heard, and sound off!

And, as always, thanks for listening, and thank you for your support!

Before DKFM became a known name, we were familiar with Kalamazoo’s Crash City Saints. 2010’s epic LP, Glow In The Dark Music, presented a band in full throttle: sweeping, powerful, but always tuneful. Classic singles “A Life Worth Living” and “Cough Syrup” exemplified a band at the top of their game, and poised to take over the world. Bits of Astrobrite, with a sprinkling of Jesus and Mary Chain, Crash City Saints sparked with electric energy, and a stamp on the sound that was both deafening and undeniable.

So what happened to the lads? Other than a 2011 EP, they seemed to have fallen off the radar, much to the dismay of fans everywhere. So there was much rejoicing at the news that they’d signed to Saint Marie Records for their long-awaited followup, due 11 August. But Are You Free? is described as a far more ambitious project than might have been expected. Are You Free? was initially conceived as the shoegaze Quadrophenia. I wanted to tell the story of a teenager growing up in a small town in the early 90s set to songs meant to function as various homages to the bands I loved (the bands that “saved my life” as The Smiths once put it) from that period). However, as with every musical endeavor of mine to date, it soon became clear that my ambitions were bigger than my recording budget, and many song ideas had to be scrapped. Ultimately, this was probably for the best.”

From the opening “folky” bars of “Ice Cream Headache”, you may think you’ve landed in some parallel universe. Once the tuneful haze sets in, you’ve found yourself in familiar territory. Part Arcade Fire, part Beatles, but undeniably Crash City Saints, you’ve started on a journey that’s uniquely their own. Filled with a midwestern cool, and a consistent propulsion throughout, this is a joyous return. If you’re late to the party, this is a great time to catch up. Crash City Saints’ Are You Free? LP releases on 11 August (vinyl, CD, digital), but preorders are live now via Saint Marie Records.

Follow Crash City Saints via their Facebook page, and on Twitter. Go. Now. Do it.

New. It’s our specialty. New albums from She Sir, Celldweller, Bleach Dream, Second Still, and Barlow. New EPs from Doorbells, bokunofune, Flashes, Life Model, and Muskk. New singles from Sundowners, Castlebeat, FUR, Dactylion, FOREVR, and Season of Strangers. Plus we’re spinning advance of the forthcoming LP from The Wagner Logic, Heart is Dark (releases via Team Clermont next month), and we’re digging into the limited back catalogue of Dots (・・・・・・・・・), Japan’s first significant shoegaze idol band. Yum!

That’s not to overlook last weekend’s jewels, including Telyscopes, Heaters, SHINY TIMES, Backwarmer, Calling All Astronauts, Softsurf, Retrieval, Pabst, Autisti, Bare Pale, Foliage, Saccades, Honeyrude, Cigarettes After Sex, Beliefs, Sylvie, A Thousand Hours, Seven Tin Stars, Greg-Nunn, and choice cuts from the Dut Dut Dut Dut compilation. So. Much. New.

New Tracks Weekend kicks off 8 pm Eastern, 5 pm Pacific, and continuing through Sunday at midnight Eastern, 9 Pacific. It’s the first weekend we’ll spin some of these tracks, and may be the last weekend for some others. Remember, you can listen listen via the station page at DKFM,  on Shoutcast, and on TuneIn Radio for iPhone/Android/Windows. Plus we have our branded apps for Apple’s iOSAndroid and Blackberry: listeners can vote thumbs-up/thumbs-down on all the new tracks, helping us determine what graduates to permanent rotation. Your voice counts! Or load up the “Internet Radio” tab of your iTunes desktop client, and you’ll find DKFM Shoegaze Radio under ‘Alternative’. You can even keep up with the new tracks and artists you may have missed, as we’re live-tweeting every track on our sub-Twitter DKFMTracks account. Now you’ll know what you heard, or catch up on what you missed. Keep up with our new Facebook group for real-time discussions of what you’ve heard, and sound off!

And, as always, thanks for listening, and thank you for your support!

Celldweller may not be the first name that comes to mind when you’re thinking of shoegaze or dream pop. A long career with highlights and chart successes in industrial metal and electronic rock, multi-instrumentalist and sonic visionary Klayton (Celldweller) has been universally known for signature driving beats and crunchy guitar riffs. So when he announced his forthcoming LP, Offworld would draw from a variety of shoegaze influences he’s loved, some of his fans may have come away puzzled. More Daysleepers than Deftones, previews of Offworld featured watery reverb, and perhaps a greater emotional depth than previous releases.

For us, the crown jewel of this new effort is “Echoes”. At once powerful and deeply personal, “Echoes” seems a perfect fusion of Celldweller’s epic aspirations and classic shoegaze flourishes. “This song really captured the shoegaze sound I have loved for years,” Klayton said. “Where I had sprinkled elements of shoegaze throughout the album, this song was 100% unapologetically shoegaze.” We’ll take unapologetic shoegaze any day of the week.

We asked about the new sound, the sonic new approach, and the gear it took to make this album a reality.
“This album is like no other Celldweller album I’ve ever made which was completely intentional. While exploring the idea of Offworld and contemplating what I wanted it to say musically, I found myself wanting the music to be a more organic, breathing & evolving thing. This made me approach songwriting by first picking up a guitar instead of a synthesizer and processing them through a vast world of guitar pedals. Further mangling organic sources and Infusing the tracks with my traditional electronic sound design resulted in an album I’m really proud of. 
 
I bought a bevy of guitar pedals that I felt would inspire new ideas and help navigate uncharted musical directions for me and then went to work. I used pedals from Strymon, Red Panda, Earthquaker Devices, Boss, Dwarfcraft, Electro-Harmonix, Frantone & Eventide and found huge amounts of inspiration there. 
 
I’ve been a longtime fan of ’90s Shoegaze artists but never really had a place to produce in that style on my own tracks. This was the perfect place to infuse those vibes across some of the tracks. I approached other songs with more of an Acoustic Guitar backbone and even delved into some Blackgaze inspired stuff to bring in the heavier side of things. I used some great software on the release. The Eventide suite of plugins (Blackhole!!) Valhalla reverbs, Soundtoys effects and Fabfilter Pro-Q 2 and Pro-MB everywhere. I used an assortment of guitars through Various amps – Vox, Mesa Boogie & Saldono as well as the occasional Native Instruments Guitar Rig for in-the-box stuff. 
 

There were no production rules per-se. My only goal was to create an album that had a consistent feel – one I would have wanted as a teen, driving around on cold winter nights while lost in thought. To me there was an escape in that music and I wanted to create that same environment for someone else. You and I will go Offworld tonight…” Klayton (Celldweller)

 
New noisy toys, new textures, and a fully sonically immersive experience. Offworld is released 28 July on the FiXT label. Follow Celldweller via his website and social channels: Facebook, Twitter, YouTube, and Instagram.

From well-received early singles, to sparkling remixes, to their debut LP, Northern Automatic Music on Saint Marie Records, Chicago’s Panda Riot have continued to evolve from beachy cuteness to a dream pop band demanding to be taken seriously. And they are to be taken seriously. With all the hard work evident on their most recent album Infinity Maps, seems like the critics are finally catching up as well. We sat down with the chief architect and sonic sculptor Brian Cook, to talk about composition, pedals, sampling, as well as future plans. Press play and follow along, won’t you?

DKFM: It can’t be JUST us… this album seemed to take an absurdly long time to finally be released into the world. Tell us about the journey to release?

Brian: It takes a while for the vibe of an album to wear off. We could have made an album right after Northern Automatic Music and it probably would have sounded similar, but thats not what we were after. I  spent about a year teaching myself to build guitar pedals and then actually building them. I ended up building about 50 different pedals for this album. I built them based on what the song needed–even it was just one little moment in a song, I’d build a pedal just for that. It took awhile too because we have our own studio. We were experimenting more with the recording and the composition.  When we record something into the computer it isn’t just about taking what’s there and making it sound better. We’d try to push things beyond that. For instance, we may record a drum part, then chop it up in the computer, listen back and then try to recreate that version live; record it and then merge the 2 versions. So you end up having a mixture of organic and inorganic elements.

DKFM: It seems that there are more layers, more competing textures, that there’s just more going on in Infinity Maps than you’ve attempted before. If anything, seems like an incredible attention to detail. Talk a little about the recording and mixing process.

Brian: From a technical/gear perspective, I built out a computer that could handle and process large numbers of tracks smoothly. We also bought a pair of Mackie Controls, which is a digital control surface that talks to Logic Pro. Having 16 faders and not having to mix with a trackpad or mouse is super freeing. It really bridges the analog console approach to the digital realm. Moving faders, twisting dials feels much more natural. And once you have the ability to manipulate recorded elements fluidly with a computer it can become an instrument in its own right. All this equipment–the Mackie Control and the Mac Pro are from 2010 or earlier. The pre-touch screen stuff is brilliant and cheap nowadays.

DKFM: Tell us a little about the unique guitar textures you’re getting on this album. What goes into making the Panda Riot sound?

Brian: I had a pretty specific approach to recording and mixing the guitars from the start. I would do a take and then send that signal back through a different amp, pedal, mic combination a bunch of times.  The cool thing about that is that it doesn’t end up sounding like 100 overdubs since all the tracks are derived from the same performance. When it came to mixing I’d have about 8 different textures of the same part (x2 takes) to play around with, so for rhythm guitars I could then blend all those together.  It’s similar to working with a drawbar organ in a strange way where it’s one big sound but you can play around with the harmonics and texture.

The chaining of pedals and understanding what the best order is to exploit a certain sound also takes a long time. But it’s that very precarious chain of events that’s special. You twist one knob and the whole thing could fall apart. Twist another and it’s magic.

DKFM: Infinity Maps is notable for solid songs, bookended by luscious short song snippets in between. Was that a fortuitous use of existing material on the cutting room floor, or a conscious decision to give the LP even greater depth and colour?

Brian: Overall the idea was to treat everything as a moment. Some moments or feelings are more fleeting than others, but that doesn’t make them any less important. Everything was composed based on what the album called for.

One of the things we were focused on was thinking of songs or parts visually like a film. You have moments, scenes, establishing shots, lighting etc. With that in mind, it was pretty clear what each song needed to be.

Chimera, Infinity Maps and Parachute use elements or were directly sampled from elements of Aphelion for example. Parallels samples Arrows. Glass Cathedrals samples Night Animation. I’ve always been a fan of early hip hop and sample spotting. It’s cool to hear a piece of music show up in a different context and take on a new feeling or meaning.

DKFM: How do you think the album’s been received thus far?

Brian: We’ve gotten a really great response so far. It feels good to have it done and out there. And people seem to be picking up on the aspects that we spent a long time trying to bring out.

DKFM: You headed out on tour, bringing the Panda Riot roadshow to the West Coast last year. Now that the album is getting traction everywhere, making any fresh tour plans to amplify the signal?

Brian: We did a small tour on the East Coast in June which went over really well. We are planning on playing out a lot more. The songs off this album translate really well in a live context which is a relief. Because when we were writing the album we never considered how hard/easy it would be to play live.

DKFM: What’s next for the Panda Riot Express? New video productions for the existing songs? New songs in the works?

Brian: We are planning on releasing Infinity Maps on Vinyl in the Fall which we are pretty excited about. We’ll have some new music videos between now and then too.

DKFM: Finally, what one thing should everyone know about Panda Riot?

Brian: We are all descended from outer space aliens.

Follow Panda Riot via their website, and social channels: Twitter, Facebook, Instagram, and YouTube. Catch the fever.

 

Pretend you’re us. You start out thinking you’ve got not much to add to the New Tracks Weekend rotation. Then, 24 hours before air, seems like your wheelbarrow is overloaded with new additions. And, even as you sideload and cut promo for all the new music, you realize you’ve lost another three new releases you’d intended to shine a spotlight on. This is us. Sometimes more, sometimes less, but usually varying degrees of this. So, subject to change, here’s the joy we’re boosting this weekend (no particular order): Telyscopes, Heaters, SHINY TIMES, Backwarmer, Calling All Astronauts, Softsurf, Retrieval, Pabst, Autisti, Bare Pale, Foliage, Saccades, Honeyrude, Cigarettes After Sex, Beliefs, Sylvie, A Thousand Hours, Seven Tin Stars, Greg-Nunn, and choice cuts from the Dut Dut Dut Dut compilation we premiered last night. V v packed. Packed, I tell you.

That only adds to last weekend’s fresh mayhem stew, including Cat in the Case, Houseplants, Dakota, Speedy Ortiz, Shady Bug, The Dreamtoday, Morning TV, See Through Dresses, plant cell, Mermaidens, Spotlights, Laedj, Juvenile Juvenile, Dazy Crown, Foliage, Strange Lights, Autumn’s Grey Solace and more. We mean it when we say: there’s more new music worth hearing than hours in the day to play it.

New Tracks Weekend kicks off 8 pm Eastern, 5 pm Pacific, and continuing through Sunday at midnight Eastern, 9 Pacific. It’s the first weekend we’ll spin some of these tracks, and may be the last weekend for some others. Remember, you can listen listen via the station page at DKFM,  on Shoutcast, and on TuneIn Radio for iPhone/Android/Windows. Plus we have our branded apps for Apple’s iOSAndroid and Blackberry: listeners can vote thumbs-up/thumbs-down on all the new tracks, helping us determine what graduates to permanent rotation. Your voice counts! Or load up the “Internet Radio” tab of your iTunes desktop client, and you’ll find DKFM Shoegaze Radio under ‘Alternative’. You can even keep up with the new tracks and artists you may have missed, as we’re live-tweeting every track on our sub-Twitter DKFMTracks account. Now you’ll know what you heard, or catch up on what you missed. Keep up with our new Facebook group for real-time discussions of what you’ve heard, and sound off!

And, as always, thanks for listening, and thank you for your support!