BrattBeat Music

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Penetration - The Pyramids • Let’s Go Trippin’ - Dick Dale & the Del-Tones • Surfin’ Hootenanny - Al Casey & the K-C-Ettes • [clip: The Astounding She Monster (1957)] • Surf Rider - The Lively Ones • Surf Bunny - Gray, Gene & The Stingerays • [clip: Beach Girls And The Monster (1965)] • Rouge Rouge - Christie Laume • Shoot The Curl - The Honeys • King of the Surf Guitar - Dick Dale & the Del-Tones • Let There Be Surf - Chevell’s • 80-96 - Dantes • The Hunch - Mad Mike & the Maniacs • Cecilla Ann - Surftones • [clip: concession stand #1 (circa 1964)] • Tell ‘Em I’m Surfin’ - The Fantastic Baggys • Church Key - Revels • Summertime Blues - The Rumblers • [clip: concession stand #2 (circa 1964)] • Double or Nothing - Booker T. & The MG’s • The Horse - Cliff Nobles • Number One Guy - The Ferris Wheel • Simon Says - The Shangri-Las • I Live for the Sun - The Sunrays • Shoot That Curl - Chris & Kathy • [clip: Silly Putty (circa 1968)] • Oceanside - The Super Stocks • Do The Jellyfish (from “Sting Of Death” 1966) - Neil Sedaka • Loose Nuts - The De-Fenders • Scratch - Eddie & The Showmen • Surfin’ - The Beach Boys • Scorpion - The Carnations • [clip: Not of This Earth (1957)] • Nee Nee Na Na Na Na - Dicky Doo & The Don'ts • [clip: Bride of the Gorilla+Attack of the 50ft Woman double-feature (1960)] • The Bo Vitch - Booker T & The MG’s • Tequila Joe - The De-Fenders • Surfer’s Stomp - Mar-Kets • Taco Wagon - The De-Fenders • Soul Finger - The Bar-Kays • [clip: Kronos (1957)] • The Real Thing - Kim D • I Wanna Hear It Again - Peanut • Hippie Hippie - France Gall • Beat It - Fredy Brock • [clip: Ice Cream Machine (circa 1962) • Let’s Go - Booker T & The MG'sTant • Pis, Tant Pis Entre Donc - Anne Kern • Bas Les Pattes • Liz Brady • Cat on a Hot Foam Board - New Dimensions • [clip: Them (1954)] • Raw-Hide - Booker T & The MG’s • Paradise Cove - Surfmen • He’s So Near - Donna Douglas • Hippy Hippy Shake - Pat Harris And The Blackjacks • Hot Dogger - The Pastel Six • Twist It - John Barry • Drunk - Jimmy Liggins • If You Drink, Don’t Drive - Johnny Rector • [download]

[brattbeatmusic]

 Cabin Fever Freak Out at the Stone Church with Bella’s Bartok and Will Wood & The Tapeworms || 

WHEN: February 1st @ 8:00 pm – 11:00 pm

WHERE: The Stone Church - 210 Main St, Brattleboro, VT 05301, USA

GRAMS: @bellasbartok  •  @tapewormsmusic   •  @stonechurchevents @stonechurchvt42

All little children grow up, one day — all except the bedazzled and glittered boys of Bella’s Bartok. Inspired by elements of Vaudeville, centuries of street-performance, and an unyielding drive to promote camaraderie, Northampton, MA-based Bella’s Bartok delivers a passionate kaleidoscope of sound. The songs are born of Americana and folk music of their immigrant grandparents, blended with the joy of a particular brand of pop sensibility. Their performances are at once a primal stand against oppression and a declaration of joy in the face of adversity.  From quiet reflections on loss, to the howl of justice in four-part harmony, Bella’s Bartok sonically and lyrically delivers a sweaty, soulful dance-party that is sure to leave the audience happily breathless. ||

Started in the dimly lit alleyways of Great Barrington, MA, Bella’s Bartok gradually evolved from street-punk performers to an electric, brass-filled, accordion-based spectacle that has continued to entertain audiences for nearly a decade. 

The line-up includes: 

Asher Putnam (Lead Vocals)

Dan Niederhauser (Bass, Vocals)

Amory Drennan (Trombone, Vocals)

Crisco (Drums/Percussion, Vocals)

Gershon Rosen (Trumpet, Vocals)

Alex Kogut (Accordion, Keyboard, Vocals)

Lucas Solórzano (Guitar, Vocals)

The band has shared the stage with musicians and acts such as Rubblebucket, Red Baraat, The Indigo Girls, Larry & His Flask, The Suitcase Junket, Parsonsfield, And the Kids, Kanye, Rough Francis, Beau Sasser’s Escape Plan, West End Blend, Adam Ezra Group, Meat Puppets, World Inferno/Friendship Society, Rupa & the April Fishes, Arc Iris, and many more. Find Bella’s Bartok on a variety of stages, at a myriad of festivals, or on the street across the continental United States. Audiences often pick up on the band’s main influences such as Frank Zappa, System of a Down, Tom Waits and Oingo Boingo.

Since their inception in 2015, WILL WOOD AND THE TAPEWORMS have garnered a rabid cult fanbase and national press reactions, and sold out shows around NJ. 

Sharing the stage with national and internationally touring acts like GOGOL BORDELLO, HONUS HONUS of MAN MAN, and more, WWATT continue to prove they are "New Jersey's next big thing," (mycentraljersey.com, 2016) by bringing ""A SHOW EXPERIENCE UNLIKE ANY OTHER..." (Dying Scene, 2017) to the stage. They have released two full-length studio albums, 2015's EVERYTHING IS A LOT, and 2016's SELF-ISH.  The newest addition is a live album called The Real [LIVE]

​

[brattbeatmusic]

Kotoko Brass and The Celebration Brass Band perform at The Stone Church January 25th ||

@kotokobrass melds the beautifully complex traditional drumming of Central Ghana, the sturdy bass and keyboards of the Caribbean, and the joyous horns of New Orleans to forge a sound the Boston Globe has described as “propulsive, infectious party music.”

When the traditional Ghanaian percussion and driving drum set grooves meet the steady rhythm section and jubilant horn melodies, we can’t help but dance.

At its core, our music is a celebration of tradition, diversity, and unity. While our compositions are influenced by and emerge from the rich culture and heritage of the Asante Kingdom of central Ghana, they are brought to life by a group that spans age, ethnicity, and nationality. The wealth of our varied musical experience serves not only as an endless well of inspiration but as a vital opportunity to broaden the depths of our communication as humans. ||

GET TICKETS

#brattleboro #vermont #vt #celebration#brassband #mardigras #stonechurch#sonia #middleeast #inspireartsandmusic#oompa #kotokobrass #ghana #cambridge#boston #ma @oompoutloud@bostoncrusaders

[brattbeatmusic]

New single by Ceschi Ramos entitled Say No More || 

Ceschi (pronounced chess-key) Ramos makes his own version of progressive hip hop spliced with elements of folk & indie rock. Although he has almost "mathy" technical rap abilities he's first and foremost a singer-songwriter at heart. Although one Ceschi song may consist of punk-influenced machine gun fast raps, the next may be a quiet folk ballad played on acoustic guitar. 

@ceschiramos, out of New Haven, Connecticut had this to say about the new song ‘Say No More’... “An agnostic gospel song dedicated to my dear friends Bobby & Pepe who are facing a difficult federal marijuana case right now. To all friends who have been imprisoned for risk-taking & to those we’ve lost along these alternate paths. This song was created from a cell phone voice memo of a guitar riff I wrote that Graham then “sampled” and fleshed out a song around."  January 8, 2019 ||

Factor - Drums / Production   Ceschi – Vocals, Classical Guitar voice memo Lindsey Wright aka Lucy Freedom (lucyfreedom.tumblr.com) - backing Vocals & flute   Max Heath of Child Actor – Organ Levi of The Pxrtals - violin   (special thanks to Maulskull for recording Lindsey’s parts) 

Find Ceschi Ramos online at:

Facebook

ceschiramos.com

Twitter

Instagram

[brattbeatmusic]

I Love You! plays at the Stone Church January 4th! ||

🔥 Based in Brattleboro Vermont, I Love You! is an amalgam of melancholy and orphic drive with infectious melodies and haunting lyricism. I Love You! is made up of Jamie Soph on Bass, Lu Racine on Drums, and Echo Mars on Guitar, vocals, and synthesizer.  @iloveyouband is made up of all queer members who strive to create a safe queer space for queer show-goers.  This EP, recorded by Jamie Soph, has three post-punk tracks with passionate songwriting that grew on me quickly.  🔥

See I Love You! at The TOUR KICKOFF EXTRAVAGANZA!  🔥 ||

At The Stone Church on January 4th at 8:30 PM.  Other acts include:

Slow Pony (epic accordionistration, voice and boom bang ting),

Faye Patrick and the Good Death Reverence Ride (haunted and hopefull cathartic healing magicalness),

If Not I Than Who Then (radical courage music and old-time futuristic cardboard waggling),

Kissies (queer hardcore from NJ members of Teenage halloween),

Ultra Deluxe (chiptune skramz from NY),

I Love You (dreamy intense huge sultry sounds)

[brattbeatmusic]

Christmas Love is Here ||  by Arc Iris ~ @arcirismusic ~ 

HAPPY HOLIDAYS! || 

Jocie Adams Vocals

Zachary Tenorio-Miller Keys

Robin Ryczek Cello

Ray Belli Drums

[brattbeatmusic]

Lou Barlow will play a rare solo concert at the Root Cellar. 

||  "Apocalypse Fetish is a 5 song extended play release from, me, Lou Barlow. ~@loubarlow~  The cover features a newborn child peering warily over the edge of her mother’s sling into 2016, the year that conspiracy theorists became experts and anger went [even more] mainstream. The song "Apocalypse Fetish" proposes that, perhaps, many of us have been disappointed that the end of the world has taken too long to come after we’ve spent most of our lives predicting it. And, perhaps, we’ve decided to take matters in our own hands and "bring it on" because, if it doesn’t come soon, then didn’t we all seem foolish talking about it all. the. time. There are 4 other songs on the EP, none of which are political in nature but are similarly "fired up." The melodic inspirations for the record came from my day in the back stairways and basement of the enormous Eagles Ballroom in Milwaukee, Wisconsin (Dinosaur Jr. ~@dinosaurjr~ were there opening for #Primus in August 2015.) I was alone and playing my ukulele in the cavernous spaces and tiled showers there. The unique reverberations brought the beginnings of these songs. The hall is reputed to be haunted and I’m not so sure it isn’t. I wasn’t able to fully draw the songs out until I recorded, once again, with Justin Pizzoferrato at Sonelab in Easthampton Massachusetts (May 2016.) I recorded my last full-length record (Brace The Wave) there in 2015. I’m happy to consider this EP a follow up to that album, though, this time, every song is played on ukulele (strung with heavy strings and tuned much lower than a standard uke.) Actually, it sounds nothing like a ukulele. For all intents and purposes, it is a 4-string acoustic guitar utilizing the strumming styles and lower toned soundscapes I’ve been pursuing since my first released ukulele recording: "Poledo" (on Dinosaur Jr’s 2nd LP You’re Living All Over Me.) Yes, I’ve been doing this for a long time. I’d be proud to have Apocalypse Fetish be my final record. Check it out." - Lou Barlow || 

Lou Barlow performs Saturday, December 22nd at the Root Cellar in Greenfield.  Other acts on the bill include Scott Helland and Dredd Foole with Jen Gelineau Duo. 

Get Tickets!

[brattbeatmusic]

Barika from Burlington plays at The Stone Church.  || 

"Led by their grooves, Barika is wholly rhythmic, captivating audiences with the beautiful, hypnotic way in which they interweave melody and groove to create something that is not only danceable but incredibly interesting to listen to. Barika creates a soundscape of funk soaked in psychedelic, West African resonance." - Performer Magazine   

On the heels of the band’s busiest and most successful year, @barikamusic is pushing the boundaries of the high energy, dubbed-out, danceable sounds they are known for. Layering samples and electronic elements into the mix has inspired new excitement from the band’s members and audience. From that energy, studio album number four, titled “A Simple Light”, took form. 

The intention for the new record has been to mix the band’s rhythmic, melodic and atmospheric sensibilities with new sounds and invite some friends to collaborate. At the core, and true to form, this new music is held together with the poly-rhythmic traditional sounds of the West African n’goni front and center. See BARIKA W/S/G ROB COMPA OF DOPAPOD & THE BOOGALISTICS at The Stone Church on Saturday, December 29th.  ||

Get Tickets Now!

[brattbeatmusic]

Souled Out Instrumentals by Jackson Whalan ||

New album released by @jacksonwhalanmusic entitled Souled Out Instrumentals. 

“ I just released 5 beats to celebrate the two years of the ‘Souled Out’ EP being out. These are beats that I made with my close friends during my residency at SubStation Studio. Look it up on your music service of choice! Enjoy. And to all you rappers out there: I want to hear/see you rapping on these beats. Tag #souledoutinstrumentals in your post! 💙 Thank you for listening!” ||

Learn more at www.jacksonwhalan.com

Produced by Jackson Whalan Featured musicians: Ian C. Evans, Jules Jenssen, Tyler Gasek, Brian Ross, Mixing Engineers: Fran Cathcart, Mark Schwartz, Jackson Whalan Mastering Engineer: Ian Stewart Special thanks to Robby Baier and SubStation Studio

[brattbeatmusic]

The Original Cowards | new math ||

See The Original Cowards @hawksandreed on December 14th! This video was directed by Jason Bourgeois. Starring: Adelaide, Virginia, Hannah, Hannah, Riley, Heather, Angela, Sue, Marlon, Ileana, Sebastian, Jason, and John  || 

Listen to more at http://theoriginalcowards.bandcamp.com/

Event Link: https://brattbeat.com/events-directory/the-original-cowards-moon-power-and-henning-lesa-at-hawks-reed-performing-arts-center/

[brattbeatmusic]

Which Road Takes Me Home by The Mammals

100% OF BANDCAMP PROCEEDS FROM THIS SINGLE will go to support the incredible work of the TMI PROJECT. "Join the movement to change the world one story at a time and amplify the voices of populations whose stories will otherwise go unheard."www.tmiproject.org Support our work at patreon.com/themammals 

On Writing. And regarding “Which Road Takes Me Home.” by michael j merenda, jr. ∞ Writing for me has always been a refuge. Particularly songwriting. And on my best days, it’s as natural (and as necessary) as breathing. I don’t know how my life would have turned out if I hadn’t have had this outlet growing up. While I have learned over time to write all sorts of styles of songs, my favorite (and perhaps the most cathartic) are the songs that are impressionistic rather than literal. The ones that sound right, feel right, more so than “make sense.” (Making songs that make sense has never been very high on my priority list.) I write songs that feel right. They’re not all necessarily best suited for public consumption. Some are jagged, obscene, obtuse. Some are too sweet, too simple, too sad, too ecstatic. But they’re all mine. Mine, mine, mine! They can exist nowhere else and in no other space and in no other time. In no other way. Other than my own. I owe all my music education to my mentors. Some of these folks were school teachers. Extracurricular after school program organizers. Folks who floated me just the right record at just the right time. Friends (so many friends) who taught me a guitar chord or three or turned me onto The Beatles. Dylan. DiFranco. Dan Bern. Richard Buckner. Syd Barrett. Hank Williams. Malvina Reynolds. Liz Phair. Utah Phillips. J Mascis. Operation Ivy. Tom Waits. Nina Simone. Pete & Woody. Probably more than anyone else John Lennon has been my guiding light. John created songs for mass consumption as well as epically solipsistic reveries of acutely personal catharsis. “In My Life” and “Across the Universe.” “Imagine” and “Tomorrow Never Knows.” “Come Together.” “Revolution.” “Revolution #9.” “I Don’t Wanna Be a Soldier, Mama.” “Love.” “Working Class Hero.” Political. Emotional. Woke. Raw. Real. Worldly. Otherworldly. Confused. Confusing. Confounding. Fearless. Fun. Revealed. Whole. Whatever “Which Road Takes Me Home” is, it’s born of all of this. Five terse verses couched in a folk form and recorded with a wall of ukuleles, swirling loops, accidental drums, dulcet harmonies, old-time fiddle, “space mando” and friends. Friends friends friends. Each verse tells a different story. A snapshot, a vignette. And if you were to pin me down and ask me: well, it’s a song of acceptance. Accepting the moment. Accepting that you can’t know all the answers and you can’t make just the right move every time. But we move forward: it’s the only option available. May every youth have access to their own vehicle of expression and reflection. A place where they’re free to express their own identity and experience. And for that expression to manifest as literally or surrealistically as they see fit or as the muse abides. Transformation starts from within. And with the slightest puff of intention, our deepest most inner dreams and whimsies may surface and come to life. Become externalized. Become us. -mjmjr ∞

lyrics Which Road Takes Me Home She was a modern man Stuck in the earth’s rotation One bird in her hand The other in the sun’s radiation And I don’t know which way to go Or which road takes me home He was an outlaw Until he met you And that night that you took off yr bra Told the other boys to shoo And I don’t know which way to go Or which road takes me home I watch the trees grow And I love when they change color I have done this all my life With my mother and my daughter And I don’t know which way to go Or which road takes me home Time is a wrecking ball And nothing lasts forever Time will take us one and all We’ll be lost forever together And I don’t know which way to go Or which road takes me home It’s a funny thing to be a poet And make starvation wages Can’t pretend I didn’t know it It’s been this way for ages And I don’t know which way to go Or which road takes me home

Mike Merenda: guitar, ukulele, SK-5, vocals Ruth Ungar Merenda: fiddle, vocal Konrad Meissner: drums Jacob Silver: bass Ken Maiuri: keys Charlie Rose: pedal steel Special guests: Sarah Jarosz: space mando Lucas Miller: harmony vocal 

Released December 10, 2018. Recorded by Adam Armstrong at Humble Abode Music, West Hurley, NY. Additional tracking by Robin MacMillan at Faraway Sound, Brooklyn, NY. Mixed by Mike Merenda at Humble Abode Music.

[brattbeatmusic]

Raindrop Blue (Peaking Lights Ruff and Tuff Remix) by King Tuff

[brattbeatmusic]

Gentleman Farmer by The Rear Defrosters

Recorded on a single wintry afternoon live in studio with no overdubs, The Rear Defrosters debut EP of original songs comes at you like the live shows they've become so famous for: raw, weird, loud, brash, and indebted to the greats of country music.

Michael Roberts -- vocals, rhythm guitars Kate Lorenz -- vocals Sam Moss -- lead electric guitar Ethan Hazzard-Watkins -- fiddle Rick Contino -- pedal steel guitar Jeff Murphy -- bass Jesse Fox -- drums Written by Michael Roberts © Cold Cowboy Songs (BMI) Engineered by Ben Rogers, Loud Sun Studio Assistant Engineer Mia Govoni Produced by The Rear Defrosters and Ben Rogers Mixed by Ben Rogers, Michael Roberts, Jesse Fox, and Jeff Murphy Mastered by Carl Saff Artwork by Sam Mosslicense

[brattbeatmusic]

The Other by King Tuff

When asked to describe the title track from his new record, Kyle Thomas—aka King Tuff—takes a deep breath. “It’s a song about hitting rock bottom,” he says. “I didn't even know what I wanted to do anymore, but I still had this urge, like there was this possibility of something else I could be doing... and then I just followed that possibility. To me, that’s what songwriting, and art in general, is about. You’re chasing something. ‘The Other’ is basically where songs come from. It’s the hidden world. It’s the invisible hand that guides you whenever you make something. It’s the thing I had to rediscover to bring me back to making music again in a way that felt true and good.” After years of non-stop touring, culminating in a particularly arduous stint in support of 2014’s Black Moon Spell, Thomas found himself back in Los Angeles experiencing the flipside of the ultimate rock and roll cliche. “I had literally been on tour for years,” recalls Thomas. “It was exhausting, physically and mentally. I’m essentially playing this character of King Tuff, this crazy party monster, and I don’t even drink or do drugs. It had become a weird persona, which people seemed to want from me, but it was no longer me. I just felt like it had gotten away from me.” The ten tracks that make up The Other represent a kind of psychic evolution for King Tuff. No less hooky than previous records, the new songs ditch the goofy rock-and-roll bacchanalia narratives of earlier records in favor of expansive arrangements, a diversity of instrumentation, and lyrics that straddle the fence between painful ruminations and a childlike, creative energy untarnished by cynicism. The soulful and cosmic new direction is apparent from the album’s first moments: introduced by the gentle ringing of a chime, acoustic guitar, and warm organ tones, “The Other” is a narrative of redemption born of creativity. As Thomas sings about being stuck in traffic, directionless, with no particular reason to be alive, he hears the call of “the other,” a kind of siren song that, instead of leading towards destruction, draws the narrator towards a creative rebirth. Elsewhere, tracks like “Thru the Cracks” and “Psycho Star” balance psychedelia with day-glo pop hooks. “The universe is probably an illusion, but isn’t it so beautifully bizarre?” he asks on “Psycho Star,” providing one of the record’s central tenets. At a time when everything in the world feels so deeply spoiled and the concept of making meaning out of the void seems both pointless and impossible, why not try? Thomas self-produced the record, as he did his 2007 debut, Was Dead, but on a far grander scale. He recorded it at The Pine Room, the home studio Thomas built to work on the record, and playing every instrument aside from drums and saxophone. He pulled Shawn Everett (War On Drugs, Alabama Shakes) in to assist with the mixing process. While it would be easy to think of The Other as a kind of reinvention for King Tuff, Thomas views the entire experience of the record as a kind of reset that’s not totally removed from what he’s done in the past. “I can’t help but sound like me,” he says. “It’s just that this time I let the songs lead me where they wanted to go, instead of trying to push them into a certain zone. King Tuff was always just supposed to be me. When I started doing this as a teenager, it was whatever I wanted it to be. King Tuff was never supposed to be just one thing. It was supposed to be everything.”