The Spacebomb Revue at SXSW – Photo recap
We are riding high after last week’s Spacebomb Revue showcase at SXSW. In the height of our afterglow, we’d like to thank the following people for helping to make it happen:
- Our amazing family of artists who gave the evening purpose and who helped us pack out Antone’s all night: Andy Jenkins, Angelica Garcia, Bedouine, Jackie Cohen, Lola Kirke, and Sleepwalkers
- SXSW for believing in us and helping make the night possible
- Virginia is for Music Lovers for partnering with us on presenting the show
- Our sponsors for all of their support: Blanchard’s, Broadberry Entertainment Group, Common House, Nate’s Bagels, Threshold Counsel
- Everyone who chose to spend the evening with us on a busy Tuesday night with a million other options. Thank you.
Matthew E. White sitting in with Andy Jenkins
Spacebomb House Band’s Trey Pollard and Pinson Chanselle
all photos by Amy Baldwin except Sleepwalkers by Dean Christesen
Bedouine – “When You’re Gone”
Today, Bedouine returns with new song “When You’re Gone.” This song continues her creative partnership with Gus Seyffert (Beck, Norah Jones, Michael Kiwanuka) who produced the song in his LA studio. “When You’re Gone” follows her critically acclaimed self-titled debut in June 2017, and the single “Come Down In Time”/ “Hey, Who Really Cares?” from last year. Listen to “When You’re Gone.”
Bedouine’s Azniv Korkejian says about the song:
“When I started ‘When You’re Gone’ I was just messing around with pretty chords. Then the lyrics spontaneously came to me much later when I read something on Instagram, which is kind of hilarious. It triggered a line that eventually rolled out the entire song. In retrospect I think it reflects on the time since I’ve released my first record; in nondescript hotel rooms alone or getting dropped off a cliff after tour is over, not exactly sure what to do with myself. It also touches on what that can mean when it comes to the people you’re closest to. My favorite part may be the delicate intro that’s tucked away in the record as a hidden track.”
The video for “When You’re Gone” was filmed in Iceland (during Iceland Airwaves) and at Capitol Studios in Los Angeles, where the strings were recorded.
SXSW 2019 appearances next week include showcases hosted by Stereogum, Paste, Netflix, Desert Daze, and Spacebomb & Virginia is for Music Lovers’ Spacebomb Revue. Today, Bedouine also announces upcoming shows in New York, Los Angeles, and London.
In 2017, Bedouine released her self-titled debut album via Spacebomb Records to widespread critical acclaim including a 5/5 The Independent album review and features everywhere from Vogue and Rolling Stone to The FADER and Stereogum. In the last year, she has toured the US alongside Kevin Morby, Jose Gonzalez, Hurray for the Riff Raff, Fleet Foxes, Waxahatchee, Real Estate and Willie Watson, with sold-out headline show at New York City’s Joe’s Pub (“she sounds like a future legend — the sort of musician one will later wish to have seen back when, at a small performance like this Thursday-night show.” – New York Times).
Bedouine on tour
Mar. 11 – Austin TX (SXSW) – 9:00pm – Banger’s Basement – Netflix/Collide
Mar. 12 – Austin TX (SXSW) – 3:00pm – Cheer Up Charlies – Stereogum*
Mar. 13 – Austin TX (SXSW) – 12:00am – Antone’s – Spacebomb Revue at SXSW
Mar. 13 – Austin TX (SXSW) – 6:15pm – Hotel Vegas – Desert Daze*
Mar. 13 – Austin TX (SXSW) – 9:00pm – Palm Door – Paradigm*
Mar. 21 – Salford UK – Sacred Trinity Church
Mar. 22 – London UK – Southbank Centre, Purcell Room (SOLD OUT)
Jun. 6 – Brooklyn NY – Rough Trade
Jun. 7-8 – Sonoma CA – Huichica
Jun. 13 – Los Angeles CA – Moroccan Lounge
Sep. 7 – London UK – Queen Elizabeth Hall
* w/ Spacebomb House Band
Bedouine – “When You’re Gone”
DIG | 03.07.2019
Sleepwalkers – “Fault Is Me”
Sleepwalkers present “Fault Is Me,” the latest track of their forthcoming album due out later this year. Watch the animated mini-video by Sleepwalkers’ own Austin York, and catch them next week at the Spacebomb Revue at SXSW.
York says about the song:
“Fault Is Me” is about making the same mistakes time after time and blaming others for your problems. Ultimately knowing deep down it’s been your fault all along.
Sleepwalkers on tour
March 8 – Savannah, GA – Savannah Stopover
March 9 – Tampa, FL – Gasparilla Music Festival
March 12 – Austin, TX – Antone’s for the Spacebomb Records & Virginia Is For Music Lovers present The Spacebomb Revue at SXSW
Sleepwalkers – “Fault Is Me”
DIG | 03.05.2019
Spacebomb House Band’s exclusive Record Store Day vinyl release
Today, we’re delighted to announce a Record Store Day exclusive soda bottle clear 12” vinyl by The Spacebomb House Band. Known About Town: Library Music Compendium One (SB028) is a collection of instrumentals, interstitial music, and spiritual sounds by The Spacebomb House Band – music that has previously only been available on very limited edition cassette tapes. Recorded at Spacebomb Studios in Richmond, Virginia, this music is a deep dive into the heart and soul of the musicians who drive the musical output of Spacebomb.
The Spacebomb House Band are Cameron Ralston, Pinson Chanselle, Trey Pollard, and Matthew E. White, the musicians and arrangers behind records by Natalie Prass, Foxygen, The Waterboys, Slow Club, Bedouine, Nadia Reid, music from the Serial podcast, and more. Learn more about The Spacebomb House Band at The 405.
Released on April 13, 2019, and limited to 850 copies in the U.S. and 600 copies in the UK, more details about Known About Town: Library Music Compendium One and participating Record Store Day stores can be found at www.recordstoreday.com and www.recordstoreday.co.uk.
Spacebomb House Band – Known About Town: Library Music Compendium One (SB028)
LP | RECORD STORE DAY/04.13.2019
Jackie Cohen – “FMK” – ‘Zagg’ out May 10th
Hi, my name is Jackie Cohen and I’ve got a new record. The title is Zagg, a nickname I picked up in high school as some dumb Kerouac-related joke (I actually remember but I don’t want to tell you), and also a word that means “a sharp change of direction.” I chose it for a number of reasons.
First and foremost: it’s gonna look tight on an embroidered hat. As the famous adage goes, “Lead with your merch!” Next: Zagg is me, my name, and this record is my first real, intentional, nearly unabashed step toward being myself confidently out in the world. Here I am! Here are my songs. Finally: making this record was truly a “life zagg” for me. I quit my marketing job. I quit my teaching job. I quit my sausage sampling at the mall job. I started taking my meds as directed. This is my SSNRI record. I’m reflecting instead of spiraling. Got my egg cracked a few times but I’m landing sunny side up. Like the Bridge of Avignon, I am partly destroyed but quickly rebuilt. I’m in cahoots with the Avengers of record-making. Still not perfect, but what’s so sexy about perfect? The intrigue’s in the pockmarks. This record is extremely fun.
Zagg is a Jonathan Rado + Matthew E. White co-production. We played X-Files on mute for the entire two weeks we spent tracking with the Spacebomb House Band. We all got the flu. Two among us came down with foot & mouth disease (won’t name names). The playing and production is bright and beautiful across the whole grab-bag of love songs, laments, self-mortifications, meditations on sunscreen, hammer-anvil jams, and kit v. kit double drum cardio smash-bros looney tunes suicide pursuits. Don’t get me started on Trey Pollard’s freak-of-nature orchestral arrangements.
Here’s my friend Eric Deines describing the record:
More than one of Jack’s many nicknames, Zagg is also a shout out to her uncanny ability to select an unanticipated word or musical flourish, her disarming poetic acumen, her ability to zoom in and out at lightning speed and spin a phrase into a mantra, or the opposite of a mantra. Each song on this record is its own unique little world, keeping a listener delightfully off-kilter throughout the entire affair. Opening track “FMK” operates likes a sonic thesis statement. For a quiet moment, Jackie’s confessing her recurring mother-in-law dreams and initiating a sudden-death round of Fuck Marry Kill. Then on a dime she somersaults into rocket-pop posture, ready to cut loose and head to the movies with her best boogie-boy: “Let’s go to the movies and dance a little…you can share my Twizzler…Let’s go to the movies, you can dance at the movies!!!” The charging, industrial pop of “Get Out” is augmented with punching strings that are both lovely and foreboding. In the lithe, Rickie Lee Jones-nodding “Yesterday’s Baby,” a giant foot-shaped cloud looms in the mouth-shaped sky and Jackie gets microscopic — “Why don’t you just let it burn out/Toss that glass of wine out/Stamp that Camel Light out/Shut your mouth up shut up your mouth.” After a few more dances, deep diaphragmatic breaths, and Blood on the Tracks winking ballads, knock-out marathon track “Keep Runner” gives it straight to some Wile E. Coyote tomfool who’s out getting his butt blown up again.
The energy of the record, I think, comes from finding out Patti Smith didn’t make Horses until she was 29. Extremely influential Wiki experience. Oh, and Adam Green, my all-time favorite songwriter and artist, painted me looking like a doctrinal seer peering into a cartoon mirror. If nothing else in my life pans out? Beans! Navy, pinto, and cannellini. I don’t care. Peace has found me. Here’s the record. Listen hard. Read the signs. Pack a lunch. Enjoy.