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.
Goods says, “Between Gillespie’s haunting croons, which
puncture in sublime fashion through the melancholy and wonder of the film — which
finds a young girl, ignored by her parents, slipping through her sandbox into a
dimension where her red dragon and rabbit puppets come to life — and Gordon’s otherworldly melodics, LANDROID split-the-difference somewhere
between Pink Floyd and Beach House.
“It’s easy to imagine ‘Yellow Sea’ being performed during a dreamlike lounge scene in,
say, Twin Peaks or Mulholland Drive,” says Jordan Blum of PopMatters in the premiere
coverage of the debut single by LANDROID.
Listen here or at the link below.
Gillespie (vocals, guitar, bass) and Greg Gordon (drums, sequences) of LANDROID are veteran performers that
have traveled the world as professional musicians. Now they live in the
California town of Landers. Population: 2,632.
The music that Gillespie
and Gordon are making as LANDROID, so named as a reference to
their new home, is as vast as the environment in which it was created.
Following years of playing variations on the Los Angeles-based punk and rock
hybrid, Gillespie and Gordon settled in a desert land and
became a desert band. The duo’s debut album Imperial Dunes arrives on
Sept. 13th via their own Mojave Beach Records label.
“They are the largest mass of sand dunes in
California,” Gillespie says of the
actual Imperial Dunes, another real-life location that contributed to
the name game. Turns out the “DROID” in LANDROID
has a connection, too: “In Return of the Jedi, the Imperial
Sand Dunes are the location of Jabba’s Palace,” Gillespie adds.
This bit of connect-the-dots finds its way back to the
deeper substance that makes LANDROID’s
songs stick. Giant production makes Gordon’s
thudding kick drum sound as huge as the nearby Giant Rock Vortex, where it is
believed that Earth’s magnetic energy lines intersect.
“They say it channels psychic energy,” Gordon says. “We know it sounds
hippie-dippy, but we swear we can feel it.” Believe the mystical hype or not, Gordon’s drum sounds arrive from
“The dunes feel like an appropriate metaphor for
life,” Gillespie observes, grounding
her lyrical themes. “Nature is the ultimate power and just as the dunes change
day-to-day, everything in life is constantly changing. We like to think we are
in control, but nature reclaims us.”
LANDROID’s “Recommended If You Like” is more like a
“Recommended If You’ve Lived.” It’s a list of inspirations and influences that
read like whole lifestyles unto themselves.
Imperial Dunes sounds just like ‘em:
David Lynch, David Bowie,
outer space, X, Cocteau Twins, William Blake,
Runner, Led Zeppelin, Buddy Rich, scuba diving, Portishead, Pink Floyd, Angela Carter,
The album’s first single and music video“Yellow Sea,” proves the concept. Lush,
but not lost in itself, the song is otherworldly and familiar at the same time.
“Yellow Sea” is a meditation on the hereafter,” Gillespie states.
Imperial Dunes by LANDROID arrives on Sept. 13th, 2019, preceded
by the single and video “Yellow Sea,”
out now. Members of LANDROID are available
for interviews. Contact Josh Bloom
at Fanatic for more information.
Cover Me says Samantha
Sidley “digs deep for this Beach
Boys tribute, eschewing the oft-covered classics for a true deep cut... It
seems impossible to record a version that betters Brian Wilson’s... I’d argue Sidley’s
jazzy version surpasses the original.”
“This song is from one of my favorite Beach Boys records, Friends,”
Sidley says. “I was on a leisurely
walk in my neighborhood listening to it and realized that the song is a story I
pretty much live every day. I knew it especially when Brian Wilson says, ‘I get a lot of thoughts in the morning, I write
them all down, if it wasn’t for that, I’d forget them in a while.’
to Samantha Sidley covering “Busy Doin’ Nothin’” by The Beach Boys at Cover
Me or at the link above!
Listen to “I
Like Girls” by Samantha Sidley
Goods or Jazziz
or the link above now!
“It takes us back to the speakeasies of the 20s, with
flirtatious saxophones and crisp, expressive vocals. The song is a
sophisticated and delicious ice-breaker, serving anthemic lyrical content for
an evolving culture.” — Grimy Goods
Sam tells Jazziz,
“I’m a jazz singer and I wanted to sing songs that represented me but still
sounded timeless. I used to just change the pronouns in standards but now I
have originals in the genre especially about me and my story.”
Sidley is a jazz vocalist,
born-and-raised in Los Angeles, and she likes girls.
The words “I like girls” are the first thing you’ll
hear when Sidley’s debut album Interior
Person (Sept. 13th,
Release Me Records) opens. The song
is an unassuming anthem, a future standard for an evolving culture. It’s also a
fun and funny ice-breaker that you’ll sing along with.
Girls” is a peek into what plays out
as a meticulously crafted debut album featuring Sidley’s beautifully trained voice taking confident ownership of
songs written for her to sing by some of the most important women in her life.
These other “girls” include fellow musicians Inara George, Alex Lilly, and Sidley’s
“Top One” favorite musician of all-time, her wife, Barbara Gruska.
“Inara and Alex and Barbara wrote songs that are all very personal to my story – they
literally are my story – and from my lesbian perspective, which I appreciate so
much,” Sidley says. In addition to
co-writing many of the songs here, and playing drums (masterfully) on many of
the tracks, Gruska also produced Interior
Person in a studio constructed in Sidley’s
“My whole life was a song,” Sidley says of her childhood. “If I looked at a tree, it was a
song. If I felt happy, sad, joy, it was a song. When I first heard Judy Garland in ‘The Wizard of Oz,’ I remember thinking: ‘I understand.’ I’ve
always considered myself an interpreter, which is sort of and undervalued art
form. I like to take a song and make the story true for me.”
Sidley soon discovered Aretha
Franklin, Billie Holiday, soul
music in general, and her own personal “soulfulness” itself. You know, like all
seven-year-olds do. Later, considering how annoyed 11-year-old Sidley was when her vocal instructor
wouldn’t allow her to sing Holiday’s
“Lover Man (Oh Where Can You Be)” at
her first recital, it all made perfect sense.
A decade later, Sidley
got to sing whatever she wanted, performing at NYC’s legendary Oak Room at the Algonquin Hotel, where she lived in Dorothy Parker’s room, listened to a lot of Anita O’Day and Ella
Fitzgerald, and landed a rave review in The New York Times.
“She knows exactly how I express myself and what my
intentions are,” Sidley says of her
working relationship with Gruska.
“Collaborating on this record has actually been a much longer collaboration of
us getting to know each other.”
Interior Person, the debut album from Samantha
Sidley, arrives Sept. 13th,
preceded by the single “I Like Girls,”
out now.Samantha Sidley is available for interviews. Contact Josh Bloom at Fanatic for more information.
“Reminiscent of the wide-open ’70s Laurel Canyon sound…
Traster’s best album yet.” – Minneapolis City Pages. Hear “Choses Obscures”
Ryan Traster as photographed by Kimberly Traster
| In The Press
“Catchy, classic folk-rock tunes.” — 89.3 The Current (Minnesota Public
“Cuts straight to the chase, brushes cheeks with
brashness, and makes no apologies.” — City
“An extremely impressive slice of Americana.” — My Old Kentucky Blog
Ryan Traster | Live
08/01/2019: Brooklyn, NY @ Gold Sounds (w/ Swampboots)
The Big Takeover premieres Choses Obscures by Ryan Traster, calling the record a “lyrically
impressive and soncially mesmerizing album” in its accompanying record review.
Check out the full coverage here
and listen to Choses Obscures in full at the link below.
The new album by Minneapolis-based singer-songwriter Ryan Traster features that warm,
worn-in vibe of an album that’s been in your cool parents record collection
since you were a kid. Eventually, it gets passed down to you to take along into
“the real world” and is there when you need to be reminded of being a kid
It’s that gem of a find in a milk crate of vinyl at
the local tag sale on a Sunday afternoon. The kind of album that becomes an
all-time favorite, only discovered there by the person who knows what they’re
looking for and has the time to dig for it.
Choses Obscures (the title translates from French as “obscure things,” and implies a
“dark energy”) is both of those things, and that implied darkness provides a
subtle mask that contrasts and deepens the sunny images above.
throws curve balls with lyrics of places and times that don’t abide the most
famed of singer-songwriter eras (the kind that even the album’s cover art
evokes), things get real.
It comes as a jaw-dropping surprise to hearJesus and Mary Chain name-dropped on
“Endless Summer Blues” when Traster sings, “We were living in Echo
Park / I was smoking dope in the backyard / You were listening to all those Mary Chain records / We had the endless
According to Traster,
the album’s cosmic-country, straight outta Laurel Canyon feel is heavily influenced
by Skip Spence, Bert Jansch, and Judee Sill,
all of whom passed before their time. That “beyond the grave” murkiness
pervades Traster’s lyrics in a
profound way, even down to that JAMC
Choses Obscures is “born from the subconscious in troubled times, both personally and
globally,” Traster explains.
Choses Obscures, the new full-length album by Ryan
Traster, is out now via Slow Start
Records. Ryan Traster is
available for interviews. Contact Josh Bloom
at Fanatic for more information.
“I’ve had this song going around my head since I first
heard it…despite the subject of break-up the song is bright and beautiful, a
reflection maybe on the mad world of love and life – it could be a summer
anthem; it will hook you in from start to finish. Outstanding.” – Alex Gallacher, Folk Radio UK (LINK)
“A gentle tale of breakup, over highlighted, ethereal
marimba, shakers and even handclaps in the mix.It’s a stirring percussive ensemble, over moving vocals and guitar, and
an enticing harbinger of the upcoming EP.” – Melissa Clarke, Americana
“We’ve Got a Runner” was a song I wrote after a break up,” explains Los
Angeles-based songwriter, Gregory
Ackerman. “I recorded it in my room and posted a demo on Soundcloud in
2015, but I always wanted to resurrect it in the studio.”
The song is now the first single
from “Stresslove” (Oct. 4th, Munich Records), Ackerman’s upcoming EP of tunes that were written as “love songs
meant for those who had fallen out of love.”
As with his 2018 debut album And Friends, the “Stresslove” EP was produced by Pierre de Reeder, former bassist with Rilo Kiley, and the engineer of recent
recordings with bandmate Jenny Lewis,
M. Ward, She & Him, and other notable songwriters.
de Reeder adds some sonic hypnotic mysticism to Ackerman’s sunny 70’s-era California
sunset melodies, as well as a foil to the expertly navigated lyrical turns that
helped Ackerman’s single “Ten Little Indians / And The There Were
None” to catch
the attention of American Songwriter
in 2018. The song also became a top ten finalist out of nearly 20,000
submissions in the latest International Songwriting
In addition to “We’ve
Got a Runner,” the “Stresslove” EP
contains the tunes “Dawg,”“Follow Through,” and “Future”.
“I had the song “Love
of the Loveless” by Eels in my
head while I was writing these,” Ackerman
explains. “I was thinking a lot about my relationship to love at the time. I
had been going through some flings, but nothing that was sticking.”
“The EP follows the arc of a failed relationship,” Ackerman continues. “It’s like a sonic
version of 19th century painter, Thomas
Cole’s series ‘The Course of
Empire,’ but for the stages of love.”
“Stresslove” is the upcoming four-song EP by Gregory Ackerman, out Oct. 4th
from Munich Records. The “We’ve Got a Runner” single is out now.
“Stresslove” is the follow-up to Ackerman’s 2018 debut album And
Friends. Gregory Ackerman is
available for interviews. Contact Josh Bloom
at Fanatic for more information.
Inspired by landmark 1982 concert film ‘Urgh! A Music
War,’ The Late Innings channels energy, intensity of the era. Hear “Our Secret”single now.
Sinex of The Late Innings as photographed by Daniel Lennox.
About | “Our Secret” by The Late Innings
synths waves, grounded by sonorous trumpets. Irresistibly catchy,” says Glamglare in its premiere
coverage of “Our Secret,” the
lead single from the upcoming new album by The
Late Innings. Listen
here or at the link below!
Secret,” the first single from the
upcoming new album by The Late Innings,
sounds straight out of the era of high-waisted pants, even higher hair, and
Day-Glo-decorated keytars, but the message is darker. “Our Secret” is a song about a guy who returns to his favorite
vacation spot, only to find that it is now overrun by tourists.
“I think of this track less like a ‘song of the summer’
and more like a ‘song of the bummer,” Vincent
Sinex of The Late Innings
half-jokes. Sinex recalls, “We went
to a beach that seemingly no one knew about, and we had the whole place to
ourselves that afternoon. After that trip, I thought, ‘The next time I want to
go back there, will it still be a secret, especially since in the age of social
media, nothing is a secret anymore?”
It may be hard to convince you otherwise after
listening to Wild Places, Sinex’s
upcoming new solo album as The Late
Innings, out Sept. 6th.
The album’s lead single “Our Secret”
everywhere now. The Los Angeles native’s music sounds like his name. It
rides that edge of time when the late 1970s became the early 1980s. When pop
became new wave. When AM became FM.
“I have been recording since my early 20’s when I
first got a four-track cassette recorder, a couple of guitars and a drum
machine,” Sinex says. “I was
inspired by the performances in the 1982 concert film ‘Urgh! A Music War,’ which captured the energy, intensity, and
diverse sounds of 80’s new wave bands.When I saw groups like XTC, Magazine, and Echo and The Bunnymen in that film, it made me want to pick up a
guitar and try to make that kind of music myself.”
Based on those incredible influences, Sinex went on to teach himself some
recording basics, knock out a few cover tunes, write and record some songs of
his own, and ultimately form a short-lived band. Then, a ten-year detour into a
more institutional type of education followed, earning Sinex a Master’s degree in Computer Science, but keeping him from
music, and the march of technology.
“Once I had my degree, I returned to working on music,
but technology had changed a lot,” he remembers. “Even though I had new gear, I
initially struggled to write any new material.”
The dedicated science student that he is, Sinex decided to take an analytical
approach to writer’s block.
“I had to teach myself the craft of song construction,
so I got a bunch of songbooks by people I admired, and I started studying how
their songs were put together,” he explains. This exercise led Sinex out of his slump and to the
writing and recording of his debut album Arrived and Departed, released in
For Wild Places, Sinex performs everything you’ll hear, including the meticulously
layered background vocals. The album explores themes that are particular to
today’s cultural challenges, mostly relating to privacy in a society where
almost nothing is private anymore.
Well, almost nothing. Because if Vincent Sinex really is a pseudonym, that secret is still safe.
the latest album by The Late Innings
arrives on Sept. 6th,
preceded by the single “Our Secret,”streaming now. Vincent Sinex of The Late Innings is available for interviews. Contact Josh Bloom at Fanatic for more information.