Fanatic is a music marketing company established by Josh Bloom in 1997 to build fan-to-fan connections between artists and the media. For over 20 years, Fanatic has continued to help launch careers through the strategic advocacy of creative talent.
J Hacha de Zola recording the follow-up to 2017’s Antipatico
with producer John Agnello at Kaleidoscope Sound. (Photo credit: Miguel
Rahway-based Avant virtuoso J Hacha De Zola, he of the self-professed purveyor of a sound
dubbed “boozegaze” is forging forward following the untimely passing of one his
main musical collaborators, legendary sax legend, Ralph Carney. Carney was
best-known for his collaborations and work with Tom Waits, Elvis Costello,
They Might Be Giants, The B-52s, any many more, as well as
for being the uncle of The Black Keys
drummer, Patrick Carney. He was also
one of Hacha de Zola’s closest
studio confidants. At the time of his passing in late 2017, Hacha de Zola said of Carney, “His work will go on forever.
Moving forward with my next record, I am truly at a loss as how to proceed
without him. I am truly grateful to have worked with him and to have called him
For his as-yet-untitled fourth studio album, Hacha de Zola is working with producer John Agnello, who has most recently
seen his recordings with Merge
artist Waxahatchee reach a large and
loyal following. Agnello is renowned
for his work with Sonic Youth, Drive-By Truckers, The Hold Steady, and most notably, his decade-plus long
relationship with Dinosaur Jr.
The new recordings will not only form the basis of a
new Hacha de Zola full-length, but
an all-Spanish language EP will also be scheduled for release. Hacha describes the results as “songs
of love, magic, and power.” He continues, saying, “I find the typical band of ‘guys
or gals with guitars’ to be quite boring and limited, which is why I have
surround myself with this cabal of horn players, minstrels, poets, and weirdos.
The record has a heavy Latin feel. Spanish is my first language, and I feel
more compelled to celebrate my own culture, and the culture of those I grew up
This attitude especially informs the stand alone EP,
which Hacha de Zola describes as “stripped
down, mostly acoustic, and all in Spanish.” Hacha de Zola further explains his musical journey to date, saying,
“Over the course of the last three records, songs are coming easier, and more
musical styles and genres are becoming accessible to me. Having a group of
collaborators and different varieties of musicians on board has been essential
in making Hacha sound more diverse.
Styles that I thought I would be into – salsa, country, jazz, and spoken word.
It’s been a non-stop process for me. Agnello
has really helped crystallize this for me, and it just made so much sense to
work with him on this one. I feel like I’ve made a new valued ally, and like
with Ralph, a friend who believes
in, and digs my musical vision.”
Further details of the upcoming J Hacha de Zola full-length and EP are forthcoming. The artist’s
current release is his third album Antipatico (Caballo Negro Records), which prompted Paste to proclaim him “a wild man” who conjures “fire breathing
artists like Screamin’ Jay Hawkins
and Captain Beefheart” upon its
release in October, 2017.
Antipatico, the latest album from J Hacha de Zola, is out now. Hacha
de Zola is available for interviews. Contact Josh
Bloom at Fanatic for
Over the course of three albums, five EPs, numerous
the recent two-song “Distractions: Vol.
1”), and a batch of cover songs in a mere half-decade, Putnam’s mostly one-man project The March Divide has delivered a
seemingly unending stream of songs that have established the San Antonio-based
artist as one of the best rock songwriters working today.
Today, in additional to launching another leg of his
nearly non-stop touring schedule (see itinerary below), Putnam’s announces the upcoming release of the fourth The March Divide album. Anticipation
Pops (Aug. 24th, Slow Start Records) is his best work to
date, mostly because the ten songs here reveal a greater emotional depth, along
with performances, and lyrics, that go beyond anything that Putnam has offered up before. Perhaps
his near-manic recording and touring schedule was prologue that has led to the
relatable sensitivity that is this album.
“This record feels like a new direction,” Putnam says.
Recording at home on the fly, and skipping his usual
demo and pre-production process, has allowed Putnam to maintain a spontaneous feeling that informs these songs,
and obviously kept him from overthinking lyrics or anything else that stood in
the way of a group of tunes that could be called “raw” if Putnam wasn’t so good at producing himself and if the word “raw”
didn’t scream “under produced.”
That is to say: These songs sound great.
Putnam claims that the work on Anticipation Pops
represent a thematic “consistent inconsistency,” different from his more
planned past albums. And while he dials that back when he agrees that the album
is cohesive, he’s either being modest, or is far enough outside of his comfort
zone now not to notice that Anticipation Pops is actually his
most thematic record of all.
Writing ten personal songs from a unique perspective,
but relatable to everyone, is an artistic goal most songwriters never achieve. Putnam affirms that he made Anticipation
Pops by deciding, “this is what I’m doing, take it or leave it.”
Apparently he didn’t know that the result would be the work his fans can care
for most of all.
Anticipation Pops, the fourth full-length album by The March Divide is out August
24th, 2018, on the artist’s recently co-founded Slow Start Records label. “Distractions: Vol. 1,” the first in a
series of singles releases, including the
track “Get In Line,” is
The March Divide – On Tour
5/17/2018: Dallas, TX @ Adair’s Saloon (730PM)
5/18/2018: Wichita Falls, TX @ Gypsy Uncorked
5/19/2018: Amarillo, TX @ The 806
5/20/2018: Norman, OK @ Red Brick Bar
5/21/2018: Wichita, KS @ Kirby’s Beer Store
5/22/2018: Kansas City, MO @ Dave's Uptown Ramblers
5/23/2018: St. Louis, MO @ Evangeline’s Bistro &
5/24/2018: Chicago, IL @ Elbo Room
5/25/2018: Seymour, IN @ House Show
5/26/2018: Kansas City, MO @ House Show
5/29/2018: Greenville, SC Black Sneaker Souls
5/30/2018: Nashville, TN @ Spring Water
5/31/2018: Memphis, TN @ Sounds Good Memphis
6/01/2018: Houston, TX @ Rudyard’s British Pub
6/02/2018: Seabrook, TX @ Midnite Slice
6/06/2018: Amarillo, TX @ Red Door Brewing
6/07/2018: Albuquerque, NM @ The 806 (w/ Jonah Matranga, The Pauses)
“Should’ve become a household name a long time ago.” —
“Sounds like the holy union of Guided By Voices, The
Wedding Present and any number of New Zealand pop heroes.” — Buzzbands.la
great DIY pop canon and trophy hallways of heroes with an illustrious array of
pepped up jangle pop.” — Impose
May 11th at 8PM at Stories Books and Cafe (1716 W. Sunset
Blvd.) in Echo Park: Songwriter and author John
Andrew Fredrick presents “Songs
& Stories” in celebration of the latest EP, “The Paper Boats,” by the
black watch. More info here.
“This song’s all in good fun - no harm, no foul,” says
John Andrew Fredrick, the lone and
long-standing constant leader of Los Angeles-based dreampop outfit the black watch about “Oh You Little Witch!,” his most recent single,
recently premiered via PopMatters, and available now on “The Paper Boats,” the new EP from the black watch.
metaphorically enter into other people’s consciousnesses, trying to imagine
what it’s like to be them.” Fredrick
continues. “But at some point one stops doing that. As the song declares, ‘I
never wonder what it’s like to be you.’ You look at someone and go ‘Someone,
somewhere used to be so interested in that person, and now they never hardly
ever pay them any nevermind!’”
“The Paper Boats” represents the latest
in a long, long line of releases by Fredrick
(more than most artists conjure in a lifetime.) Some 25 or so releases, in
fact, comprised of albums, EPs, and books, which will now be added to with the
announcement of another “witchy” title.
is the just-completed new album by the
Further release details of the new album “that sounds
like if Syd Barrett had joined New Order,” according to Fredrick, are forthcoming.
For now, Fredrick
coyly notes that he was deeply engrossed in obsessively listening exclusively (“I
mean, I didn’t even put on any Beatles”)
to The Pink Floyd (unlike the band
itself, Fredrick never stopped using
the “The”) when writing and recording the follow-up to 2017’s The
Gospel According To John. “Witches!” promises to be a serious
departure for this long-running band of never-say-die indie rockers.
Boats” EP by the black watch is out now on the
eskimo record label. John Andrew
Fredrick is available for interviews.Contact Josh Bloom at Fanatic for more information.
“Pagan Jazz” is “homage to disappearing underground,” inspired
by “magic, wonder, weirdness” of warehouse party world. Hear “Pris” now.
(Tara Timberman) as photographed by Parker Day
Metal Mother – In The Press
unique sonic worlds worm themselves into your brain.” — BlackBook
“Dark, spooky melodies are layered over pulsating,
seductive beats.” — BUST
“A face off of industrial beats and tribal stomps.” — Noisey
“Projects a dark image. The music itself is
delightfully softer.” — Vogue
“Don’t be fooled by her name. More maternal than
metal.” — USA Today
“Sonically turbulent, ‘Pris’ longs to get lost within itself. Metal Mother employs layers of synths, vocals and sound clippings
atop dramatic drums; their boom echoes a deep, unsettling urgency that refuses
to resolve.” — Atwood Magazine
“This is an homage to the disappearing underground.”
Now relocated to Los Angeles from Oakland, Tara Timberman is bringing new Metal Mother material above ground for
the first time in five years.
Jazz,” the new five-song Metal
Mother EP out June 15th,
Timberman directly references a
track from Ionika, her 2013 album. The song “Doomdome” contains the lyric “RIP underground,” a statement that Timberman explains is “about the
housing crisis and its effect on DIY safe spaces which are so culturally
critical for marginalized artists to gather, experiment and co-create.
is inspired by and written for the warehouse party world and all the absurd and
whimsical fairies it attracted,” she continues. “I’ve lost many friends in the
last couple years, including many close friends in the Ghost Ship fire. It’s
taken everything I have to keep the magic, wonder, and weirdness alive in
From that place of inspiration, Timberman initially wrote the songs on “Pagan Jazz” in a tiny golden clay dome on a Buddhist wolf
sanctuary deep in the foggy coastal northern California redwoods.
“Words cannot describe this experience,” she says.
With these new songs, Timberman shows that the weirdness is very much alive. The magic
and wonder, too. The new music on “Pagan
Jazz” reflects an even deeper focus on the duality and cross-section of Timberman’s core beliefs in equality,
truth, beauty, humor, and spirituality, along with the more earthly pursuits of
yoga, paganism, meditation, and psychedelics.
is a melancholic dance record,” Timberman
It’s also some kind of acid drenched surrealist synth
creation that beckons, but the kind of beckoning that only comes from the
pearly gates: you’ve been invited because you’re dead. It’s dark, electronic,
and machine heavy, but at the same time familiar, vulnerable, and motherly.
The only entertainment Timberman had on hand during her time working on “Pagan Jazz” in the dome was a copy of “Blade Runner,” and in fact, “Pris,” the first single from “Pagan Jazz” is inspired by the “Blade Runner” character of the same
“It’s about growing up, integrating life experiences
and embracing the lightness and dark that we grow into in our own ways,” Timberman explains of the song. “I know
on a visceral level how temporary life is.”
“Pagan Jazz,” the new EP by Los Angeles-based Metal Mother arrives June 15th,
preceded by the single “Pris,”streaming
now. Tara Timberman is available
for interviews. Contact Josh Bloom
at Fanatic for more information.