Artists with pressreleases

Julia Jacklin

BBC Radio 6 Album of the Day Fbi Album of the Week Vinyl Me Please Album of the Week Loud & Quiet Magazine Album of the Week Resident Music Album of the Week ✭✭✭✭ Q Magazine "Don't Let The Kids Win reverberates with a sense of truth that only the truly exceptional can convey" ✭✭✭✭ Mojo "Her voice cool as winter and sultry as summer, as intrinsically sad as her songs' distressing emotional punch…a worthy addition to the genre" ✭✭✭✭ The Guardian "Don't Let The Kids Win feels very much like one of those albums that will slowly creep into the affections of a large number of people; it's that lovely" ✭✭✭✭ All Music "Jacklin's cracking, pensive delivery land her in the sphere with heavy-hitters such as Sharon Van Etten and Angle Olsen, with a touch of Lucinda Williams, making it a must for fans of thoughtful indie folk" 8/10 Uncut "A sturdy, touching arrival" ✭✭✭✭ Rolling Stone Australia "You can just imagine yourself drunk, swaying along with her band and someone you love in a dimly lit bar" ✭✭✭✭✩ Beat Magazine "a stunning debut, cohesively putting forward well-crafted and emotive beauties that shine with quiet confidence" ✭✭✭✭✩ The Brag "the most striking element of Don't Let The Kids Win is how much she sounds like herself" "Don't Let The Kids Win is an album that works on levels that words don't reach. More than anything else, it is the sound of a singer at full control of their talents; the sound of a generous voice that asks nothing of you but that you listen" ✭✭✭✭ Herald Sun "Pool Party and Leadlight lead the record in an unfairly good one-two punch. Both are note perfect" ✭✭✭✭ DIY Mag "Don't Let The Kids Win shines brightest for its clear, and charismatic narrative voice" ✭✭✭✭ The Music "Equal parts lovely and disquieting" ✭✭✭✭ New Noise "Don’t Let The Kids Win is a record full of slow burners, that dwindling flame that you hope never goes out because it’s the final embrace of warmth left. 8/10 Loud & Quiet "Underpinning it all is her achingly sad vocal delivery, which oozes conviction throughout" 7.5/10 Consequence of Sound "…the ability to craft songs infused with wisdom and wonder in equal measure, Jacklin's staying power is strong" 7.5/10 The Line Of Best Fit "a genuine instinct for musical direction, which shines through in her undeniable knack for delivering sardonic one-liners enveloped in soft, touching pastoral melodies. It's that good ol' ozzy wit busting through that classic American sentimentality. And it's an intoxicating mix" "On Don't Let The Kids Win, Jacklin proves herself to be an unlikely alt-country heroine, delivering an impressive album that shows she has enough wit and wisdom to fill up a canyon or two" 7.5/10 Tonedeaf "the opening three tracks - one of the more impressive openings to a record you'll hear this year" 7/10 Exclaim! "The various ways that Jacklin puts these feelings into motion through song proves how far-reaching her abilities are…this is an album of life lessons learned" Washington Post "Julia Jacklin's captivating debut, is a folk-rock album elevated by her empathetic lyrics and delicate but expressive voice" Paste Magazine "Jacklin's vocals are gentle one moment and forceful the next, with the unexpected shifts adding urgency to her words" NPR ""Julia Jacklin hits right in the heart" LA Times "Jacklin approaches the art of song with a few essential tools: a subtly played electric guitar, a breathtaking precise voice that can move through octaves with the glee of a gymnast and an innate skill at channeling emotion through sparse, loaded lyrics" Rolling Stone Country "…somewhere between stark Americana and jagged alt-country - imagine Cat Power at last call in a honky tonk" Chicago Reader "…it's definitely put its hooks in me" Brooklyn Vegan “L.A. Dream” is just Julia and her guitar, and it’s the kind of song you just know can silence a room. Most of the song is very quiet, but Julia gets just a little louder before dropping the song’s title — “loving you ain’t easy, babe, it’s just an L.A. Dreeeeaaaaaaam — and then quiets right back down again. it’s such a simple thing, but it can really knock you out" Music Feeds "Jacklin's slow, swung alt-country folk music is fast approaching the bright lights of international stardom" Sunday Times UK "…her brilliant debut album captures a talent in its first, thrilling bloom" The Revue "…one of music's fastest-rising stars with one of the year's most inspiring and remarkable achievements" Irish Times "...this is music to warm the soul and set hearts ablaze" Hot Press "2016 could go down as the year of the sultry country chanteuse, from Lera Lynn to Michele Stodart, but it might use be an Aussie (Jacklin) who trumps them all" Vogue "a bonafide star in the making" Noisey ""Julia Jacklin examines themes of love and loss and youthfulness with a prickling sense of self-awareness" Vinyl Me Please "…it has an unwound uniqueness that proves her first album can stand alone among similar music—it’s got it’s own brand of youth, quirks, honesty" NME "Makes me think of Angel Olsen meeting Fleetwood Mac on a dusty highway somewhere serene, and is really rather lovely" Radio New Zealand "Jacklin is a supple singer with good, lyrically inventive songs, and she’s made an album that has allowed those songs to actually travel somewhere" Drift Records "Her vocal is AMAZING... if you think you like Lana Del Ray cause she sounds like she's on tranquilizers, wise up... this is how you sing with swagger... utterly brilliant. Country jams, but with indie hooks and again, she sounds like a million dollars. Get into this early, she's going to get talked about a lot"

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Vali

#ANFOM is out now! https://youtu.be/5Y6e_T0ySmE Shimmering signature ice-colored hair, swagger turned up to eleven, and a magnetic voice booming, Vali could’ve stepped right out of a late fifties musical written by Tarantino. For her 2017 Vali EP [Rostrum Records], the New York-born and Los Angeles-based pop maverick finds just as much influence in the works of Audrey Hepburn and Alfred Hitchcock as she does in 21st century R&B and hip-hop. However, the songstress describes what she does best… “My music is a vintage fashion magazine,” she elaborates. “It’s more how it feels than just a sound. Ever since I was a little kid, I always felt like I was not of this time. I loved the fashion and vibe of the fifties and sixties. Everything looked faded and out-of-focus, but it was still beautiful, pure, real, and raw in different way. I’m not so HD.” What does come across loud and clear is Vali’s inimitable charisma and charm. Born to an African American and Native American father and Russian mother, she split her childhood between performing in a nursing home for her grandmother, taking ballet (actually sneaking off to flamenco class) in Harlem, and heading down to the Village to watch classic movies in an old theater. In between attending LaGuardia High School for the Performing Arts and the Hartt School of Music in Connecticut, she performed in global touring productions of West Side Story and Hairspray in addition to singing backup for Steven Tyler of Aerosmith and Joe Walsh of The Eagles. She turned her attention to making solo music in 2011. “I was doing the musical theater thing, but I felt like I hit a ceiling,” she admits. “I was like, ‘Fuck it! I’m going to write my own stuff and do my own thing.’ That pushed me to focus on myself.” Signing to Rostrum Records and relocating to Los Angeles in 2013, she lent her vocals to the track “Dimes” [feat. Wiz Khalifa]. The song would quickly crack 1 million cumulative plays and garner looks from Earmilk, Vibe, HotNewHipHop, and many more. Along the way, she caught the eye of Creative Director Laurieanne Gibson. Gibson, who proved instrumental to the careers of Lady Gaga, Nicki Minaj, Katy Perry, recognized Vali’s talent and became a permanent member of her team. Locked in the studio, she spent the 2015 and 2016 quietly honing her style and recording countless songs in the studio. Vali’s sound reflects a carefully assembled mosaic of sticky pop, bombastic theatricality, and vintage fashion throughout the Vali EP. On the first single “Ain’t No Friend of Mine,” her vocal strut takes center stage over an unpredictable handclap bounce punctuated by a xylophone break. Produced by T-Baby [Major Lazer’s “Light It Up”], she carries the towering refrain with gusto and grit. “I went in the booth and started playing around with different character voices,” recalls Vali. “I had that Elvis song, ‘You ain’t nothin’ but a hound dog’ in my head. From there, I started developing the rest of the record. It’s an ode to people who are haters. They pretend to be your friend, but they’re really not. It goes a little deeper though. There’s an element of self-empowerment. You don’t need those types of people in your life.” By unequivocally and indisputably being herself, Vali does ultimately possess the power to inspire. “We’re at an interesting place in history,” she leaves off. “I think sharing a positive message is more important now than ever. I hope when people hear me they feel great about themselves and feel connected with both the music and who they are. We need more love, and I want to encourage that.”

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Madame Gandhi

Kiran, known by her stage name Madame Gandhi, is an artist and activist based in Los Angeles. Having gained recognition as the former drummer for M.I.A. and as the iconic free-bleeding runner combatting menstrual stigma at the 2015 London Marathon, Madame Gandhi now writes her own electronic music that elevates and celebrates the female voice. Kiran holds an MBA from Harvard and a Bachelor's degree in mathematics, political science and women's studies from Georgetown University. Her recent solo EP Voices received critical acclaim when her song "The Future is Female" climbed to #8 on the Spotify Top 50 US Viral Charts in the weeks following the Women's March on January 21st, 2017. Kiran works with co-producer Alexia Riner, a sound designer and graduate of the prestigious Berklee College of Music, to create the unique and dynamic Madame Gandhi sound. Each song features Kiran's drums, vocals and percussion, backed by the intricate electronic sound scapes developed by her collaborator. Kiran grew up between New York City and Bombay, India. She attended the Chapin School on the Upper East Side of Manhattan and was passionate about music and mathematics. She started singing and learning the piano at age 4, but drumming would become her main instrument when she picked up the sticks at Camp Robin Hood when she was 11 years old. One of Kiran's deepest influences growing up was the Spice Girls. For the first time, Kiran felt like she could see herself in her musical role models, and she started reading and learning more about feminism. She grew up in Eleanor Roosevelt's former home in NYC, and as a result learned a lot from her parents about gender equality not only in the United States, but throughout the world. In 2007, Kiran attended Georgetown University in Washington, D.C., where she studied mathematics and women's studies. When she was a junior, she landed a weekly gig drumming with DJs from Thievery Corporation at their legendary nightclub, Eighteenth Street Lounge. Later she toured with them at Bonnaroo 2010 and Virgin Mobile Fest. Upon graduating from Georgetown in 2011, Kiran put her math degree to work and went on to serve as Interscope Records' first-ever digital analyst. Here she spent 2 years reporting on patterns in YouTube and Spotify data so that some of the top artists in the world like Kendrick Lamar and Lady Gaga would be able to better understand how to market and sell their music. In 2013, she linked up with artist M.I.A, who was signed to Interscope, and toured the world as her drummer on the Matangi Album Tour. At the same time, Kiran was accepted to Harvard's prestigious MBA program, and decided to pursue both simultaneously. Kiran spent her second year at Harvard Business School running a music hackathon program called Music Minds, and consulted for several music industry companies. She also started training for the London Marathon. In April 2015, she arrived at the start line of the 2015 London Marathon and realized she had her period. Seizing the opportunity to turn an unfortunate event into a symbolic feminist act, Kiran decided to run the entire 26.2 miles bleeding freely to combat menstrual stigma around the world. The marathon was a success and her story went completely viral, sparking a global conversation about how we treat menstruation in various cultures. After graduating from Harvard in 2015, Kiran spent the past year traveling the world to write and speak about menstrual stigma. During this landmark year, she finished writing her debut EP, "Voices", to be launched in fall 2106. As she explains with her theory of "Atomic Living", spontaneity can be used productively if we are guided by our own intuition. "Stigma is one of the most effective forms of oppression because it denies us the ability to act according to our own intuition and speak comfortably and confidently about our own experiences. My mission is to elevate and celebrate the female voice."

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Mono

Mono is a Japanese post-rock band, formed in 1999 in Tokyo. The band consists of Takaakira "Taka" Goto, Hideki "Yoda" Suematsu, Tamaki Kunishi, and Yasunori Takada .Mono has released nine studio albums. The band spent their early years, from 1999 to 2003, touring Asia, Europe, and America continuously, and released two studio albums, Under the Pipal Tree and One Step More and You Die on the Tzadik and Music Mine Inc. record labels, respectively. From 2004 to 2007, Mono signed to Temporary Residence Limited, released two more studio albums, Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined and You Are There, and toured worldwide in their support. In 2008, the band took a break, returning one year later with a new studio album, Hymn to the Immortal Wind, also on Temporary Residence Limited. During the tour that followed they recorded a live album, Holy Ground: NYC Live With The Wordless Music Orchestra which was released in 2010. In October 2016 the band released their ninth studio album, titled Requiem for Hell.The band's style of music is influenced by the genres of experimental rock and shoegazing, as well as by both the classical and contemporary classical periods of classical music, and also by noise and minimalism. Mono's sound is characterised by the lead and rhythm guitars of Goto and Yoda respectively, both of whom make extensive use of reverb, distortion and delay effects. The band's live performances are noted for their intensity, both in the playing and in the dynamics.

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