ENTER TO WIN A TITUS ANDRONICUS PRIZE PACK: TICKETS TO THE 10/5 NEUROLUX SHOW, VINYL LP TEST PRESSING, SIGNED 7-INCH AND MORE!

titus_prize_pack2_700pxTitus Andronicus recently released their new album The Most Lamentable Tragedy, and we have a killer prize pack — tickets to their Oct. 5 Neurolux show, a test pressing of the new record, signed poster, signed 7-inch and a Merge slipmat — to give to one lucky customer!

To enter the drawing, send an email* with the subject “Titus Andronicus” HERE by midnight Thursday, Oct. 1. We will draw a name and notify the winner on Friday, Oct. 2.

* One entry per person, NOT per email address. If you have 16 email addresses and you enter with each address, we’ll just delete 15 of them. We have the technology. To be eligible to win, you must live in the Boise metro area and be able to pick up your prize at the store.

PAUL COLLINS BEAT ROCK AND ROLL EXTRAVAGANZA TONIGHT AT NEUROLUX!

10846211_10152410050476856_3718694391774587736_nDuck Club Presents rock icon and cult favorite Paul Collins’ Beat in Boise with San Antonio rock ‘n’ rollers The Rich Hands Thursday, Jan. 15 at Neurolux. Marshall Poole will open. Doors at 7 pm, show at 8 pm.  $10 in advance, $10 at the door; advance tickets available at The Record Exchange or online HERE. A free happy hour record swap with live DJ will be held before the show at 5 p.m.

RSVP HERE

Feel The Noise graciously returns to Paul Collins’ roots and gives credence to his best work. Back in the day, Paul was in good company. He cut his teeth with Jack Lee and Peter Case in The Nerves and then after a brief stint with Peter Case in The Breakaways, Paul set up The Beat (Columbia Records, Bill Graham Management), which history has smiled fondly on as one of power pop’s genre defining albums. Forty some odd years later we find Paul still relishing in the kind of music he started his career with – simple, straight-ahead melodic rock and roll about girls, work and traveling.

From Paul:

Back out on the road! That is what it is all about here in the Paul Collins Beat camp. Taking it to the people everywhere we can. We have come to stand for something, we do low dough shows with up and coming bands all over the country. It is what we are all about, playing rock ‘n’ roll music at ground zero with the kids and for the kids. Just plain folks having fun, and now we are getting a reputation for it, people are helping us all over the country, fans, bands and clubs alike extend their hand to us and help us on our way. We could not and do not want to do this alone it is much more fun to be with all the new and old friends that we have made along the way. Staying with folks all over the country keeps the whole thing real, we are down to earth and we love what we are doing and we don’t have to make a big deal about it, we just want to put on our show, play our music with all the other bands we work with so that everyone has a good time, and you know what? It’s working! It’s such a joy to be on the road with my crew; each band member has friends who come out to see them and hang, we are all constantly making new acquaintances with fans and with other band when we say “Hey let’s do some shows together!” There is a really good possibility that we will. We met The Rich Hands last tour in Austin and we are doing 6 shows with them on this tour! Now we are starting to see bands that we have toured with pairing up with other bands we have toured with to go and do their own tours; that just makes me so proud.

Keep on Rocking!
Paul Collins

ABOUT PAUL COLLINS AND THE BEAT

Rock icon and cult favorite Paul Collins got his start with Peter Case and Jack Lee in 1974. Their band The Nerves toured with The Ramones and recorded a song called “Hanging On The Telephone.” The song would later become a hit when covered by Deborah Harry and Blondie on the Parallel Lines album.

Paul Collins formed The Beat in 1977, recruiting members of various rock bands including Steven Huff, Larry Whitman, Dennis Conway and Michael Ruiz. The result was The Beat, a high energy rock group in the style of The Ramones, Blondie and The Dictators. As the story goes, Collins was awarded a record deal with CBS thanks to his friend Eddie Money and Bill Graham Management. The Beat played with many bands, including The Jam, Pere Ubu, The Police, Eddie Money, The Plimsouls and Huey Lewis. The Beat became Paul Collins’ Beat when a ska band from UK began using The Beat as their moniker.

Paul Collins’ Beat continued to tour and record albums throughout the ’80s, with The Kids Are The Same, Beat Or Not To Beat, Long Time Gone, Live At Universal and their final album One Night, released in 1989. Paul Collins set out on a solo career, recording the self-titled Paul Collins album in 1992. This country/rock all-star album included special guests such as Greg Kihn, Cyril Jordan (Flamin Groovies), Jeff Trott (Sheryl Crow), Chuck Prophet, Dave Immergluck (Counting Crows) and key members of Chris Isaak’s band. 1993 brought the sophomore release by The Paul Collins Band, entitled From Town To Town. This album was released by Caroline Records and featured a country rock sound similar to The Byrds.

A new version of the band Paul Collins’ Beat surfaced more recently and resulted in an album of new material entitled Flying High. Considered to be their best to date, Flying High is a solid record, done half acoustic and half electric. The album gets back to the classic sound of The Beat, while combining the raw energy of Collins’ solo works. Flying High is available from the official Paul Collins’ Beat website and Lucinda Records International. Paul Collins’ Beat play clubs, music halls and arenas, touring Japan, USA, Spain, UK, Italy and France among others. Expect Paul Collins’ Beat to play in your city very soon!

 

PAYETTE BREWING CO. PRESENTS COLONY HOUSE IN-STORE FRIDAY, SEPT. 5; FREE PAYETTE BREWING CO. BEER!

ColonyHouse_Press_307Payette Brewing Co. presents Colony House live at The Record Exchange (1105 W. Idaho St.) at 6 p.m. Friday, Sept. 5. We’ll be serving free Payette Brewing Co. beer for guests 21 and older with I.D. As always, this Record Exchange in-store event is free and all ages. Colony House is performing at Neurolux later that evening and we have tickets for sale at the store!

ABOUT COLONY HOUSE

colony house albumIn a relatively brief span of time, Colony House has emerged as a vibrant creative force, as well as a beloved fan favorite with a passionate, fiercely loyal fan base. That audience is likely to expand substantially with the release of When I Was Younger, the Nashville trio’s first full-length album, whose 14 compelling original tunes fulfill the abundant promise of the band’s three widely-acclaimed, self-released EPs.

It’s not surprising that Colony House has struck a resonant chord with listeners. The threesome maintains a balance of craft and immediacy that reflects its affinity for the sound of such alt-rock outfits as Interpol and The Killers, while echoing the influence of such alternative icons as U2 and New Order. They’ve assimilated their multiple influences in a manner that’s wholly distinctive, adding tight harmonies, strong instrumental chops and a keen melodic sensibility that’s all their own.

Lead singer, guitarist and principal songwriter Caleb Chapman writes effortlessly infectious tunes that resonate with personal experience and emotional authority. The songs’ messages of faith, hope and perseverance are matched by the organic musical rapport of Caleb and his bandmates, brother Will Chapman on drums and Scott Mills on lead guitar and harmony vocals.

“The songs I write have always come from deep places, whether they’re deep places of joy or deep places of hurt, and it can be hard inviting people into those places with you,” Caleb states.

That openhearted attitude is reflected throughout When I Was Younger, both in Caleb’s expressive vocals and in the band’s vivid performances of such personally-charged tunes as “Silhouettes,” “Second Guessing Games,” “Keep On Keeping On,” “Waiting for My Time to Come” and “Won’t Give Up,” which exemplify the combination of sharp lyrical insight and indelible melodic craft that makes Colony House special.

As When I Was Younger demonstrates, much of Colony House’s appeal lies in the three bandmates’ powerful rapport, which extends into every aspect of their lives—and which has defined their approach towards the music.

“Our musical and personal chemistry goes hand in hand,” Caleb affirms. “The three of us are best friends, which means that at any given moment we are each other’s worst enemies as well. Being in a band is like being in a marriage—it’s a constant reminder of your own pride, and a reminder that you have to be willing to sacrifice in order for it to be successful. We’ve made a conscious effort to build the foundation of the band on our friendship, and then letting that spill over into our creative relationship.”

As the sons of Contemporary Christian pop superstar Steven Curtis Chapman, Caleb and Will Chapman have been steeped in music for their entire lives. They began making music together in early childhood, playing with their dad as well as their own combos. In 2009 they joined forces with Scott Mills, who they’d met through a cousin. Although initially known collectively as Caleb, the trio rechristened themselves Colony House in 2013, borrowing the name of an apartment complex in their hometown of Franklin, where Will and Scott as well as Caleb’s future wife had all lived prior to the band’s formation.

The new combo quickly began to win attention, bringing its charismatic live shows to fans via diligent touring, while earning critical raves with a series of acclaimed EPs: Colony House, Trouble and To the Ends of the World. Along the way, the band members found time to pursue other musical adventures, with Caleb collaborating with Will’s wife, singer Jillian Edwards, as the In-Laws, and Will moonlighting playing drums on tour with noted indie combo Ivan and Alyosha.

But Colony House remains the focus of their musical lives, as When I Was Younger makes clear. “We labored on the album for a long time,” Caleb notes. “We began recording it in September 2012 and finished it in July 2013. We had our dear friends Joe Causey and Ben Shive co-produce it, which made it a very special experience. They knew that this was our first full-length project, and I think that they felt the responsibility to help us tell our story the right way.

“Creating this record had such a strong set of contrasting emotions: joy, hope, frustration, sorrow, uncertainty, confidence,” he continues.

“These songs are questions that I have been wrestling with for months, sometimes years,” Caleb asserts. “They’re stories I had been trying to write in the dim light of my 100-square-foot room long before they were ever brought to life in a studio. We created the album conceptually, trying to keep in mind the rules of telling a story. There must be a dramatic arc, a beginning, a middle and an end. So in that way, every song is a piece of the equation. The front half of the album is a bit more lighthearted and fun, and then the back half gets a bit heavier. And the last third, starting with ‘Won’t Give Up,’ is very important to us.”

Perhaps the most startling aspect of When I Was Younger is the band’s forthrightness in addressing some deeply personal, emotionally raw issues, most notably the accidental death of Caleb and Will’s 5-year-old adoptive sister Maria Sue in 2008. That tragedy is addressed on several of the album’s songs, including “Keep On Keeping On” and “Won’t Give Up,” underlining the songs’ recurring themes of faith and family.

“It has been a difficult thing to do, sharing your family tragedy when telling your story or singing your songs,” Caleb states. “But I think that it’s important to tell. Everyone has a story of pain, of heartbreak, of a letdown or failure, and that is a thread that ties us all together—the ones on stage and the ones in the crowd. We were dealt a painful hand, but it’s what has bound us together so tightly. We want to create honest art, and this is the most important thing that has happened in our lives, so it would be a hard thing to leave out of our story.”

That heart-on-sleeve honesty is just one of the qualities that make Colony House a special band, and make When I Was Younger such a remarkable musical statement.

“We believe that we have a story to tell—a story of hope and perseverance—and that’s what we want to leave people with,” Caleb concludes. “We are not in the business of writing tragedies. We have experienced tragedy, but we’ve also seen hope triumph. Our faith is woven throughout everything we do musically, just as it’s woven into the foundation of our lives.”

TWIN SISTER IN-STORE FRIDAY (6PM)!

Twin Sister will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 6 p.m. Friday, Feb. 10. As always, this Record Exchange in-store performance is free and all ages. Twin Sister is playing Neurolux later that night and we have tickets for sale at the store!

ABOUT TWIN SISTER

After having spent last winter recording In Heaven and spending this past summer and fall touring relentlessly, opening for the likes of Beirut, Explosions in the Sky, The Pains of Being Pure at Heart, Wild Beasts and Real Estate, Twin Sister (twinsistermusic.com) are currently on their first headlining U.S./Canada tour.

Twin Sister create the kind of hypnotic pop you’ve been dreaming about since Galaxie 500 fizzled, cut with Tusk-era Fleetwood Mac thump and a shot of Lynchian weirdness for good measure. They’re slack yet focused, a spark in the dark distance on a desert highway where speed is relative. Formed in Long Island two years ago, Twin Sister want to make music that you could feel comfortable cheating on someone to.

As might be implied by the title, In Heaven improves on 2010‘s critical darling Color Your Life EP in every possible way, showcasing Twin Sister’s wildly imaginative songwriting paired with flawless execution, by way of intense dedication to both musicianship and recording. While that record is a beautiful struggle against the realities of recording in apartments and between day jobs, In Heaven is the band unfettered by limitations — it is them streaking across a highwire under complete and total control.

As this is a debut, a little background is in order — having met while playing in various bands across both coasts of Long Island throughout their teenage years, each spied on one another covetously, while Andrea Estella (vocals) and Eric Cardona (guitar, vocals) formed an intense songwriting bond, around which the core of the band’s lyrics and imagery are built. Gabel D’Amico, Bryan Ujueta and Udbhav Gupta were friends and impressive songwriters and musicians themselves (all play keys, Gabe bass and guitar, Bryan drums and guitar, Dev a talented sampler/engineer). When their other projects fizzled, Twin Sister inevitably formed, and the band began posting demos and ideas freely to their website with remarkable consistency (100+ over a two year period, still up on the site). Polishing their favorites, they released Color Your Life and toured relentlessly, earning praise for their raucous live show in equal measure with a torrent of fawning record reviews.

To the core, Twin Sister is a capital-P Pop band. The songs on In Heaven radiate and glow, a firework show set against a broad black canvas; youthful exuberance echoes throughout. Taken as a whole, In Heaven proves itself a document of endless preparation and excited execution, the fulfilled promise of bliss.

94.9 FM THE RIVER PRESENTS SCARS ON 45 LIVE AT RECORD EXCHANGE JAN. 28!

94.9 FM The River presents Scars on 45 live at The Record Exchange (1105 W. Idaho St. in Downtown Boise) at 5 p.m. Saturday, Jan. 28. As always, this Record Exchange in-store event is free and all ages. Scars on 45 are playing Neurolux later that night and we have tickets for sale here at the RX!

ABOUT SCARS ON 45

Making music was the furthest thing from Scars on 45 co-founder Danny Bemrose’s mind until the professional soccer player for England’s Huddersfield Town F.C. broke his foot at 21 and his world came crashing down. “I was in limbo, without knowing what to do with myself,” he says. It wasn’t the first time that fate would intervene in the band’s formation.

Danny put down the soccer ball and picked up for his father’s guitar. “I’m quite an obsessive person. I became kind of addicted,” he says. “I used to lock myself away to write songs and record on a four-track recorder.”

Those early years led to creation of Scars on 45, a quintet from Leeds, England, that combines the gentle melodic intensity of Snow Patrol or Keane with the added allure of co-ed vocals. Tension, often propelled by drummer Chris Durling’s insistent beat, builds throughout the songs as the emotional ante rises. Hearts are broken and seldom rendered whole again before new wounds pierce through.

Highlights on the group’s self-titled 10-song debut include the gracefully propulsive “Heart on Fire,” on which Danny and fellow lead vocalist Aimee Driver play out a couple’s anguished conversation. “That song came out of nothing,” Danny says. “It just seemed to pour straight out. I must have sung it 4,000 times and it feels fresh every time I sing it. I’m sure one day, I’ll fully understand it.”

On the lilting, yet melancholic, “Give Me Something,” Danny, his voice vulnerable and aching, searches for some sign — any sign — that there’s a reason to believe in a lasting love. “Everyone’s been in that situation of wanting someone and it not being reciprocated,” he says. “It just rules your entire life.”

On album opener, the piano-driven, pulsing  “Warning Sign,” Danny and Aimee’s voices weave around each other to create a spellbinding story about trying to fix “the hole inside they will never see.” Crunchy guitar riffs lure the listener into “Don’t Say,” as Danny pleads with a lover not to say “it won’t get better.” On the stripped bare “Change My Needs,” Aimee quietly, but with heartbreaking resignation, wishes she could ask for less, but simply can’t.

But all of that’s getting ahead of the story. After teaching himself guitar, Danny and one of his football buddies, bassist Stu Nichols, began playing together in various bands. “We were awful,” Danny laughs, but “we were always passionate about it and had this belief that we’d probably make it some day.”

Soon keyboardist David “Nova” Nowakowski joined the pair and the trio began recording demos and playing live around Leeds. This is where Oasis’ Noel Gallagher and country legend Emmylou Harris come in. “A friend of ours who was drumming for Noel asked us if we wanted to meet him,” Danny recalls. “He said, ‘This is Danny and Stu – they’re in a band.’ Noel said, ‘What’s your band’s name?’ and we said, ‘We don’t really have one.’ Noel said, ‘A band without a name? What kind of fucking band is that?’ and walked off.”

Indeed. On search for a name, the nascent group ultimately picked Scars on 45, taken from a radio interview that Danny heard with Harris, in which she recalled her father telling her as a young girl that she better not get any “scars on his 45s” as she played them.

The trio became the axis of the band, with other members coming and going. “We must have been through at least 500 members,” Danny says. And then, amid the revolving door, the second serendipitous event occurred that firmly set Scars on 45 on its path. Danny wrote a song that required a female voice. Out of the blue, Nova heard his friend Aimee singing along with the radio to The Cure’s “Friday I’m in Love.” Although she wasn’t a performer and had never sung in public, he was struck by her innocent, sweet voice. She ultimately joined the band, ditching plans for a two-year trip around the world.

“I just started singing along when Nova rushed in seeming really shocked,” Aimee recalls. “I thought his dad had a heart attack or something! He made me stand there in his living room and sing another song to him – which was the scariest thing ever at the time. At first I wouldn’t do it, but he wouldn’t shut up so I just put my tea down, shut my eyes and sang ‘Rhiannon’ by Fleetwood Mac just to stop him pestering me. Danny recorded me on one of the songs and it just seemed to work. The next thing I knew I was in the band. When I told my family and friends they were saying, ‘but you can’t sing, can you?’”

Then began a series of joys, heartbreaks and near misses.  The band, now expanded to a quintet with the addition of Chris on drums, placed songs on A&E’s since-canceled series, “The Cleaner,” and came close to signing a record deal only to see it fall apart at the last moment. Then came the moment they had been waiting for: “CSI: New York” selected the group’s song, “Beauty’s Running Wild,” for an extended closing scene. The music caught the attention of noted music supervisor, Alexandra Patsavas, who signed the band to her Atlantic Records-distributed label Chop Shop Records.

The band recorded the self-produced Scars on 45 on their own, first starting in “Fawlty Towers,” as Danny and Stu called their crumbling apartment, and then moving to the basement of a church that a friend has purchased to convert into apartments. “He let the congregation live there for awhile, so there was this little rock and roll band recording in the basement  and we had a lot of praying going on next door,” Danny recalls. “They were lovely people.”

Although enjoyable, the studio is “the work part,” Danny says, whereas the real fun comes in playing live. “Just to be able to put yourself out there and let people know who you are is wonderful,” he continues. “What I write about is who I am really. When people listen and react to one of your songs, there’s no better feeling.”