TREEFORT MUSIC FEST WARMUP PARTY FEATURING RADIATION CITY ON FIRST THURSDAY, MARCH 1 (6PM); FREE BEER!

The Record Exchange is proud to present the Treefort Music Fest Warmup Party featuring Radiation City at 6 p.m. First Thursday, March 1, at The Record Exchange (1105 W. Idaho St., Downtown Boise). As always, this Record Exchange in-store event is free and all ages.

The party includes a live set by Portland Tender Loving Empire recording artists Radiation City and free craft beer (21 and older with I.D.) courtesy of our partners Payette Brewing Co.! Radiation City is playing Visual Arts Collective later that evening (8 p.m.) with Atomic Mama and Shades. The VaC show is free for anyone who purchases a Treefort Music Fest 4-day pass before 2 p.m. March 1; full details HERE.

We’ll also have Treefort 4-day passes for sale in physical form and Treefort-related raffle prizes!

And since it’s First Thursday, there’s all kinds of sexy savings throughout the store, including:

• Buy 2 get 1 free used CDs, DVDs, Blu-ray and vinyl!
• Buy 2 get 1 free stickers and patches in the Gift Shop!
• Buy 2 get 1 free coffee and espresso drinks!

ABOUT RADIATION CITY

The inspiration for Radiation City’s newest output stems from an old piano. The piano has lived in drummer Randy Bemrose‘s basement for eons. It’s old, cumbersome, and on it’s last legs. The band used sounds from the piano throughout the recording of its new EP Cool Nightmare … not just the keys, though, the clicks and clacks from the body, the slamming of the lid, and virtually every other sound you can imagine making on the piano. After they were finished, the piano was beat up, out of tune, and falling apart. Having used the old piano of all it’s worth, and as a celebration of an intense year, Radiation City engaged in the ceremonial destruction of the old piano documented on the first single’s video, “Find it of Use.”

Cool Nightmare is the followup to the dream-pop quintet’s acclaimed debut, The Hands That Take You, released this past fall on Tender Loving Empire (Finn Riggins, Typhoon, Loch Lomond). Originally out via cassette on Radiation City founders Cameron Spies and Lizzy Ellison’s cassette-only record label Apes Tapes, The Hands That Take You has been lauded by MTV, ELLE, Brooklyn Vegan, Paste, FuseTV, Prefix, and The L Magazine.

Radiation City is influenced by certain staple macro-genres such as ’60s bossa nova and Chicago jazz, but their version of this classical sound is supported by irresistible pop vocal hooks and the employment of minimal electronics, which provide rhythm but leave plenty of space. The band will soon embark on their first trip to SXSW as part of a tour that will take them down the West Coast and through the Midwest.

Radiation City is Lizzy Ellison (vocals, keys), Cameron Spies (guitar, vocals), Randy Bemrose (drums, vocals), Matt Rafferty (bass, vocals), Patti King (vocals, keys, bass).

PRESS QUOTES

“The music lives up to the buzz…Plus, Lizzy Ellison’s gorgeous vocals are infectiously charming.” — ELLE

“Their dreamy, faraway sound reminds us of a sunshiny marriage between Reading Rainbow and the Dum Dum Girls…Either way, let’s just say it’s really good.” — NYLON

“One of the year’s more charming debuts, which drifts between moody, organ-driven numbers and more upbeat pop.” – Brooklyn Vegan

“Super dreamy … some of the most pleasing music of the last few decades thoughtfully time-warped into a fresh new tune.” — My Old Kentucky Blog

“This is superbly crafted, easily pinpointed yet unmistakably captivating, pop music.” — Death + Taxes

“They’ve got a sly bossa nova thing going on too, and a slight gothic-pop thing, and a Phil Spector girl-group thing, and a clear-blue vocal thing … We’d like to make a bid for them to move to Brooklyn, please.” – L Magazine

NEW RELEASE OF THE WEEK: OF MONTREAL'S 'PARALYTIC STALKS' (TREEFORT MUSIC FEST IN MARCH!)

BUY THE CD HERE
BUY THE VINYL HERE
PLAYING BOISE’S TREEFORT MUSIC FEST IN MARCH!

“Ambitious.” It’s a bit of a dreaded word, a damning bit of faint praise usually reserved for albums that aim too high. “That album was bereft of anything memorable..… but it was ambitious.” Or, more accurately, “That concept album about vocoders and indigenous masks was ambitious, awful shit.”

Well, there’s no getting around it: Of Montreal’s newest album, Paralytic Stalks, is capital-A Ambitious, with its sprawling second half, dense sonics, and ominous opening inquiry (self-described as “unanswered”): “You know what parasites evolved from?” But it’s also the best thing Kevin Barnes and increasingly growing company have produced since 2007’s masterful Hissing Fauna, Are You The Destroyer?. Most importantly, despite being an unapologetically “demanding” — not actually demanding, but more on that later — listen, it never once falls into the self-seriousness that occasionally plagued Sufjan Stevens’ similarly-minded The Age of Adz. Nor does it reek of Barnes trying desperately to convincingly channel the cracked queercore of a Cody Critcheloe or Jake Shears, as too much of his glammed-up post-Gay Parade output has. Instead, we’re getting an intensely confessional record that holds a microscope up to seemingly ordinary things: “human existence, revenge, self-hatred, and his relationship with wife Nina,” toots the press release. So despite the initial appearance of affectation, these songs are organic pieces of work that unfurl over time to reveal a distinct humanity. Alongside that well of introspection lie some of the strongest hooks and most disarming words Barnes has ever written; the album’s first five songs marry crazed production with direct sentiments magnificently. It all comes together perfectly on the album’s best entry point, the wondrous “Spiteful Intervention”: “I spend my waking hours haunting my life/ I made the one I love start crying tonight.”

What we have here really isn’t a “difficult” album at all; it’s too personal and too deeply felt to be something merely admired. When the music is thorny, it’s purposefully so, gleefully passing “excessive” but stopping short of “masturbatory.” As a portrait of a confused man attempting to make artistry and conscious earthbound reality compatible, the album is zealous and dizzying. But there’s a reason why the product of such evidently personal anguish exists in commercial form at all — because in this fierce mess of a record, there is, inevitably, something all-embracing to be shared with the world. Here’s the thing: At the end of the day, Kevin Barnes is really trying to make good pop. Paralytic Stalks is just that, bombast and all.Tiny Mix Tapes