TOM FOREST DEBUT SINGLE 'SUMMER' WILL BE RELEASED ON APRIL 28TH
TOM FOREST's debut single SUMMER will be released by Beverly Martel on April 28th.
The track was produced & Mixed by Isabel Gracefield. more >>>
STEVE LIPSON ft. AVEC SANS SINGLE IMPOSSIBLE WILL BE RELEASED ON APRIL 24TH
Producer STEVE LIPSON will release a single featuring AVEC SANS on April 24th. The track Impossible was co written by Steve and US artist Niia more >>>
AVEC SANS NEW SINGLE WE ARE RELEASED APRIL 3RD
AVEC SANS' new single We are was released April 3rd. The band start their USA tour on April 24th in Brooklyn at Knitting Factory more >>>
SUPERFOOD RELEASE NEW SINGLE 'DOUBLE DUTCH'
Superfood (now a duo featuring frontman Dom Ganderton & Ryan Malcolm) have signed a publishing deal with Iamsound Music.The band have unveiled their fresh new flavors ahead of an as-yet-untitled new album. Produced by Dom & Ryan and engineered by MATTHEW TWAITES.
The band have signed to Dirty Hit Records and have just released the first single 'Double Dutch' (Feb 6th) more >>>
BEVERLY MARTEL TO RELEASE COURTESY TIER ALBUM “EVERYONE’S OK” AUGUST 12TH
COURTESY TIER will release their album “Everyone’s OK” on Beverly Martel on August 12th.
The album was produced by CHRIS “FRENCHIE” SMITH with one track produced by PETER KATIS. The album was mixed by Z Z Top producer JOE HARDY.
The band will be heading out on tour, dates to be announced shortly. more >>>
PURPLE DETONATE THEIR SOPHOMORE ALBUM “BODACIOUS" IN UK ON JULY 29TH
PURPLE release their 2nd album BODACIOUS on July 29th thru Play it again Sam/PIAS
Bodacious proudly retains the venomous, strident tone established on their debut release, (409), and takes a dive into high-adrenaline fueled pop rock with tracks "Pretty Mouth" and "Bliss”.
The album was produced by RICK PARKER with one track produced by VICTOR VAN VUGT more >>>
T.O.L.D album released on IAMSOUND RECORDS
T.O.L.D's debut album "It's not about the Witches" released on IAMSOUND RECORDS June 17th. The album was produced by TOM BILLER & Dan Smith with one track produced by Cameron Parkins and another by Biggi Veira. The album was Mixed by PETER KATIS more >>>
AVEC SANS ALBUM "HEARTBREAK HI" RELEASED ON BEVERLY MARTEL ON JUNE 3RD
AVEC SANS' album "Heartbreak Hi" is set to be released June 3rd by BEVERLY MARTEL more >>>
AVEC SANS release Heartbreak Hi on Beverly Martel on March 4th
AVEC SANS release a new single "Heartbreak Hi" on Beverly Martel on March 4th.
The band are heading off to play shows at SXSW more >>>
COURTESY TIER RELEASE NEW SINGLE
COURTESY TIER RELEASE NEW SINGLE
COURTESY TIER release a new single “When you were young`’ on BEVERLY MARTEL on March 4th. The track was produced by PETER KATIS more >>>
KATE BOY RELEASED THEIR DEBUT ALBUM “ONE” ON FRIDAY NOVEMBER 6TH
KATE BOY RELEASED THEIR DEBUT ALBUM “ONE” ON FRIDAY NOVEMBER 6TH more >>>
COURTESY TIER RELEASED EP ON BEVERLY MARTEL NOV 6TH PRODUCED BY CHRIS “FRENCHIE” SMITH
COURTESY TIER released their debut EP on Beverly Martel on November 6th! The EP was produced by Worlds End client CHRIS “FRENCHIE” SMITH more >>>
PURPLE ALBUM "409" RELEASED VIA PLAY IT AGAIN SAM
PURPLE's debut album 409 is released via Play it again Sam
LORD HURON'S NEW ALBUM STRANGE TRAILS RELEASED APRIL 7TH
LORD HURON'S new album "Strange Trails" is released on Iamsound Records on April 7th. more >>>
IO ECHO DEBUT ALBUM RELEASED
IAMSOUND RECORDS artist IO ECHO's brilliant debut album Ministry of Love is released in North America! The band has been working hard on this album for the past couple of years and we're excited to finally be able to release it. This has been a busy year for Io Echo, after touring with Bloc Party earlier this year, and the band currently being on the road with iconic '90s alt outfit Garbage. After the tour is done, they'll be playing Coachella in a couple of weeks, and then following that up with a tour supporting The Joy Formidable. We're also excited to announce that Io Echo will be playing Lollapalooza this year (August 2-4 in Chicago).
Ministry of Love, drawing from early '90s industrial, hazy pop and Eastern Classical orchestration (Japanese Koto and Chinese violin), has garnered accolades from NPR, Interview, Nylon, Stereogum, Paper, Dazed & Confused and many more. Be on the lookout for a video for the title track soon, and until then you can watch the video for "When The Lilies Die" HERE!
“They've succeeded in doing something that so many bands have tried, but failed to do: invent a completely new sound.” - NYLON
IAMSOUND RECORDS released the debut album by LORD HURON on October 9th. more >>>
The Philistines Jr. 'If A Lot Of Bands Play in The Woods...' Available Now!
The Philistines Jr. have enlisted top indie artists such as The National, Jonsi & Alex, Mates of State, Tokyo Police Club, We Were Promised Jetpacks, Tapes ‘N Tapes, Mercury Rev and many others to cover and remix their acclaimed 2010 album ‘If A Band Plays in the Woods…?’ The collection 'If A Lot of Bands Play In The Woods….’ is set for release next week November 1, via Tarquin Records/Beverly Martel. more >>>
Nikki Lane Debut Album 'Walk Of Shame' Out Now
IAMSOUND RECORDS artist NIKKI LANE's debut album "Walk of Shame"
is out now. The album was produced by Dave Cobb and Lewis Pesacov. more >>>
New Fool's Gold Album Out Now!
Fool's Gold's sophomore release is available now on IAMSOUND Records. 'Leave No Trace' is the highly anticipated follow up to the band's debut effort. more >>>
NewVillager Available Now
NewVillager's self-titled debut album is available now on IAMSOUND Records. This two man band synchronizes pop shamans Ben Bromley and Ross Simonini. NewVillager are multimedia artists from San Francisco and New York.
The band has written pop music as a means of illustrating the NewVillager mythology, a system of thinking, which is partially “found” and partially created by the group and their collaborators. NewVillager champions an electro-symphonic sound, which the band describes as “new pop.” more >>>
Watch LYKKE LI At The Mondrian Sessions
Swedish star LYKKE LI performed at IAMSOUND's Mondrian Sessions last Thursday to an at-capacity crowd. See her perform her hit single "Get Some" above.
The last Mondrian show of the season will be April 8th with TWIN SISTER. RSVP now to get on the list!
JOHN TRAVIS Producing The Auctioneers
JOHN TRAVIS has just arrived at Sonic Ranch in El Paso to begin producing and mixing the New York-based roots-rock band The Auctioneers. The band draws upon such eclectic influences as Robert Johnson, Led Zeppelin, and Jack White.
Join Us At IAMSOUND's SXSW 2011 Showcase Tonight!
Please join us tonight at IAMSOUND'S 2011 Showcase at SXSW!!!
Featuring Friendly Fires, Foster the People, Theophilus London, Mount Kimbie, Dom, and IAMSOUND's NewVillager - this is sure to be a packed house so RSVP and come early!!
NIKKI LANE Back In Studio With Dave Cobb
Dave Cobb who recently produced The Secret Sisters,Jamey Johnson and Shooter
Jennings is back in the studio with IAMSOUND Records artist NIKKI LANE
finishing up her debut album for the label.
Mondrian Sessions Featured At PerezHilton.com
Perez Hilton has featured last weekend's Mondrian Sessions performance by Gonzales, Peaches & Feist. Mondrian Sessions are presented by IAMSOUND Records and PANic Promotions.
IAMSOUND Records will be hosting their SXSW showcase on Wednesday, March 16th from 11AM - 6:30PM at Shangri-La. The showcase will feature performances by Foster The People, Friendly Fires, Theophilus London, Mount Kimbie, DOM & NEWVILLAGER. Please visit MFG Productions to RSVP.
Beverly Martel Releases 'Magic Fountain' EP By ART VS. SCIENCE
'Magic Fountain,' the new EP from Australia's ART VS. SCIENCE is available today from Beverly Martel. Click the iTunes link below to download the EP. The band will be performing several shows at SXSW. Check out the schedule below.
Thurs March 17 6:00PM
Annie's West - SEAnow! Party - With Datarock, Cloud Control and more
706 West 6th Street, Austin TX
Fri March 18 4:00PM
Bar 96 - Deadbird Records presents "THE BIG ERASER PARTY"
96 Rainey Street, Austin TX
Fri March 18 1:00AM
Habanna Bar - Neverheard Showcase
709 East 6th Street, Austin
Sat March 19 11:55PM
Maggie Maes Rooftop - Aussie BBQ
323 E. Sixth St, Austin TX
ARI SHINE Album 'Ghost Town Directory' Now Available
ARI SHINE's new album 'Ghost Town Directory' is released today on Beverly Martel. Click the link below to download the album from iTunes.
Join Beverly Martel For ARI SHINE's Record Release Party Tonight!
Join Beverly Martel and Worlds End Creative Licensing for ARI SHINE's record release show tonight at the Redwood Bar downtown Los Angeles.
ARI takes the stage at 9:30 sharp.
Come down, have a drink with us, and get your copy of 'Ghost Town Directory'!
Chilly Gonzales, Feist, and Peaches Put On Quite A Show At The Mondrian Sessions
Gonzales played IAMSOUND's Mondrian Sessions on Saturday evening.
Feist & Peaches joined him for a song, and then things got a little bit wet...
ART VS. SCIENCE Performing At SXSW
ART VS. SCIENCE will be playing several shows at SXSW next week. Check out the flyer for a complete list of their performances.
Beverly Martel will be releasing their EP 'Magic Fountain' on March 15th. Click the iTunes link below to preorder the EP.
Guillemots Featured As Record Of The Day
Guillemots were featured as the Record Of The Day this week by the popular UK industry site (www.recordoftheday.com). Their new album 'Walk The River' is set to be released in April and was produced by DAVID KOSTEN.
SANDY ROBERTON Photographed By Refinery 29
Worlds End CEO SANDY ROBERTON was photographed for Refinery 29 at last night's Lykke Li show at the Mondrian Hotel, presented by Niki Roberton's IAMSOUND Records and PANic Productions.
Gonzales Plays MONDRIAN SESSIONS Saturday, March 12th
Gonzales will be performing at Skybar in West Hollywood as a part of MONDRIAN SESSIONS, promoted by IAMSOUND Records and PANic Promotions. Gonzales will have a very special guest performing with him.
LYKKE LI will take over the stage at IAMSOUND & PANic Promotions's MONDRIAN SESSIONS tonight, Thursday March 10th at 9 pm sharp.
DON'T MISS IT!
LARRY KLEIN’S Strange Cargo With Universal Music Unveils First Signing
Strange Cargo, the new label created by renowned music producer, bassist, songwriter and multiple Grammy Award winner LARRY KLEIN, in partnership with Universal Music Group (UMG), has made its first signing: one of Europe’s most talented singer-songwriters, Thomas Dybdahl.
The Norwegian musician’s work has been compared to that of Tim Buckley and Nick Drake. His Strange Cargo debut album, “Songs,” is due this spring.
With three platinum albums to his credit in his homeland, Thomas Dybdahl will launch “Songs” with a series of concerts in Europe, beginning in early May. He has a growing international following, notably in Holland, France and Belgium. Before the European dates, he will be showcased to the US market during March.
Strange Cargo is marketed in the US by Decca Label Group, and by Universal Music Group International in the world outside North America, excluding Denmark.
LARRY KLEIN has produced critically acclaimed work by Tracy Chapman, Shawn Colvin, Melody Gardot, Herbie Hancock, Joni Mitchell, Madeleine Peyroux, and Steely Dan’s Walter Becker, among many other stellar artists. He has been recognised with five Grammys, including those for Mitchell’s 1994 “Turbulent Indigo” and Hancock’s 2007 “River: The Joni Letters,” which he co-produced. Klein has also worked with such superstars as Bryan Adams, Peter Gabriel, Don Henley, and Bonnie Raitt.
LARRY KLEIN said: “I'm honoured to be a part of bringing Thomas' music to the rest of the world. His work has an intrinsic emotional power, and reflects an attention to subtlety that I rarely hear. I couldn't imagine a more exciting artist to be Strange Cargo's first release, as I'm a passionate evangelist when it comes to what he does. I'm grateful to Max Hole and Universal Music for giving me the opportunity to create a home for music that I love, and for creating a situation where I can work with the talented people at Decca/Universal to do so.”
Max Hole, Chief Operating Officer, Universal Music Group International, commented: “I’m delighted that we could persuade LARRY KLEIN to bring his Strange Cargo to us. He is a remarkable, prodigious talent, and to have such a unique, gifted artist as Thomas as the label’s first signing is great news. I know that Decca and our companies worldwide are looking forward to working with this artist and all Strange Cargo’s projects.”
Beverly Martel Invites You To ARI SHINE's Record Release Of 'Ghost Town Directory'
Beverly Martel invites you to join us next Monday March 14th at the Redwood Bar Downtown LA for ARI SHINE's record release show for 'Ghost Town Directory.'
The album will be released next Tuesday.
MIX Profiles ANDREW DAWSON
ANDREW DAWSON recently sat down with MIX magazine to discuss his experience in the studio. He explains his background and passion for mixing, his time spent working his way through the studios, to establishing his own studio SoundEQ, and reveals a few tricks he's learned along the way.
ARI SHINE Is Going Global
ARI SHINE is making a name for himself across the ocean. The largest Russian-language newspaper in Israel reviewed his album - and gave it glowing remarks, calling him "A young rocker with a pop sensibility looking for a perfect echo."
Ghost Town Directory will be released next Tuesday March 15th on Beverly Martel. Come join Ari & the Beverly Martel crew at his record release show next Monday at the Redwood Bar in Downtown LA - Ari will take the stage at 9:30 pm sharp.
UK Guardian Debuts Guillemots Video
The DAVID KOSTEN-produced Guillemots album 'Walk The River' will be released in the UK on April 18th. The Guardian have released the video for the first single "The Basket." Check it out HERE. The single will be released April 10th.
Songwriter 101: "Taking Notes From Neeks"
Dave Simon of Songwriter 101 sits down with Worlds End client NIKO "NEEKS" BOLAS and gets a lesson in getting around the pricey studio gear:
Given the extent of his record-making background, it’s somewhat surprising to learn that producer-engineer NIKO BOLAS didn’t initially plan a career in the control room. Hailing from a family of building contractors, in the ’70s Bolas took a job with legendary Los Angeles-based engineer Val Garay, who was then in the process of constructing his Record One studio in Sherman Oaks. Soon after, builder Bolas began moonlighting as a sound assistant for Garay and, after learning the ropes, eventually signed on as Record One’s house engineer.
Unlike some of his SoCal peers, Bolas would develop a reputation for making records live and spontaneous rather than slick and laborious — attributes that in ensuing years helped Bolas compile a lengthy list of clients ranging from Crosby, Stills & Nash and John Hiatt to Lorrie Morgan and Los Lonely Boys. His 25-year, on-again-off-again partnership with Neil Young (dubbed “The Volume Dealers”) includes producing and engineering 2006’s politically charged Living With War in addition to Young’s 2009 amped-up effort Fork in the Road.
We caught up with the man they call “Neeks” — whose base of operations continues to be Nashville’s renowned Blackbird Studios — to discuss a range of topics relevant to pro and not-so-pro record-makers alike.
When getting ready to launch a new recording project, Bolas often relies on a somewhat unorthodox pre-production regimen, one that has worked particularly well during his years with Young. “The night before the session, I’ll go in and jam with whoever is around in the studio, which helps me to get the right sound ahead of time,” says Bolas. “For instance, I’ll track some drums with the guitar and bass, and then I’ll run into the control room and see what it sounds like. Because when the artist is ready to go, that’s it, you’re on. So the idea is to have everything up already in place, right down to the headphones, before the band shows up. That way when everyone comes in and starts finding their sound, we’ll already be in recording mode. Don’t get me wrong — I’m constantly refining the sound along the way. The point is, if you’re still trying to get it together after the band has already got it together, you’re in trouble.”
Engineers often make the mistake of thinking there’s something special about the craft of recording, says Bolas, “when in reality, engineering is just a mechanical process — it has nothing at all to do with the instrument or how it’s being played. You could have someone like [session drummer] Steve Jordan banging away on a shoe box, and no matter what you did, you’d probably wind up with the greatest drum sound you’ve ever heard.”
Which may help explain why Bolas generally cares more about capturing the right performance than, say, choosing the “right” mic. Case in point: Early on, Bolas discovered that he was often able to get the very best vocal takes by using nothing more than a basic Shure SM57.
“If you give someone a cheap hand-held mic — rather than, say, putting up a big scary Neumann U87 — they tend to relax. Why? Because it’s not a studio mic! Suddenly, they’re not thinking about getting the ‘proper’ take any more — and when they’re not thinking, then they have the freedom to really express themselves.”
Bolas applies that same logic to amp recording. “Though three quarters of the time I’ll use a Shure SM57, again, it’s not always what you’re putting up, but where you’re putting it. Larry Cragg, Neil’s guitar tech, has taught me more about the different sounds that are available just by moving the microphone in one-inch increments around the speaker cone — so I’ll just strap on a set of headphones, gradually move the mic until the sound is right, and that’s where it will stay for the remainder of the session.”
As one who thrives on spontaneity, Bolas puts a lot of stock in capturing the initial burst of first-take energy. “Invariably when it comes time to do the ‘real’ take, it’s not nearly as good,” says Bolas. “So the producer’s job is to make sure to hold on to that first run through — that way if the artist winds up expending their energy trying to replicate that initial take, it will already be saved.”
Above all, says Bolas, never let the artist know that they’re actually being recorded. “For instance, I’ll put the group in a corner of the tracking room and make sure they can all hear each other, so that if their headphones fall off it won’t matter because they’re standing right in front of the drummer anyway. Then I’ll go out into the room so that they can’t actually see me hit the record button—in fact my assistants know that if I’m with the band, that means they should be in record mode. It doesn’t even matter if all of the mics aren’t up just yet, they know the rule—have that red light on! Because you never know when you might accidentally capture some fragment of a genius idea that could later turn out to be a great hook.”
When it comes time to mix, Bolas, in the spirit of his live-mixing brethren, often just replicates the physical arrangement of the players as they appear through his control-room glass. “I’ll make it sound like what I’m seeing, that’s all,” says Bolas. “For instance, on Fork in the Road, Neil was standing in the center of the room in front of the drums with his rig, Ben [Keith, guitarist] was off to the left and Anthony [Crawford, guitarist] was off to the right. So that’s where I put them in them in the mix. I mean for one thing, it makes things pretty easy to find—if the guy on the left is set up on the left side of your console, when something goes wrong you know exactly where to go to fix it.”
Digital Means, Analog Spirit
Though a purist at heart, Bolas is anything but retro when it comes to recording apparatus. “Digital is the greatest thing that ever happened to recording, because it removed all of the inefficiencies that used to exist during tape playbacks,” he says. “Anyone who grew up using tape knows how inefficient it is as a playback medium. The fact is, a lot of pre-digital engineering strategies were in anticipation of the ultimate degradation of the tape during the recording sessions—for instance, you might have had to record everything a bit brighter than normal, because once the tape began to wear, the sound would start coming back a little bit duller each time. And once you got three months into the recording and you were still running that master reel back and forth across the heads, it was going to get even duller still. Naturally there are a lot of things that we like about tape — the various compression properties that come from using different types of tape, or the subtle white background noise that tape produces, and of course we also really like the native EQ on certain tape machines. But now that we have excellent converters with really high sample rates, all the great sounds that are produced by our favorite dynamic or ribbon microphones can be properly captured—in that way, things are more analog now than they’ve ever been.”
Still, many of the limitations of the analog era can be quite useful when applied to modern recording situations. “An eight-track recorder, for instance, forces you to plan ahead—by the time you’ve filled up the sixth track, you’re already thinking about doing a reduction mix in order to free up space. In other words, it requires that you have real discipline and a different kind of record-making philosophy. By contrast, when you go to work on ProTools, you’re not thinking about anything but breakfast, because you can record anything as many times as you want. There’s no philosophy, there’s no discipline or any kind of advance planning — in short, there’s no art. And that’s my biggest problem with digital audio.”
Bolas cites a recent project with a young group from Nashville who specifically requested an all-analog set-up. “I said to them, ‘Okay, you want to learn what it’s about? Let’s do it on eight-track. So I got a 1-inch tape machine, we brought the band in and went to work. And it meant that we had to carefully plot out the sessions—on some tunes we had to start with the drums, or maybe we had to do the background vocals before the lead parts so everything would stack up properly, and so forth. Along the way, these guys got to learn about eight-track production philosophy and style, and it changed their whole approach to record making forever. Not only that, but the finished product ended up being big and dumb and chunky and noisy — all the things we love about analog! But the bottom line is that it still had nothing to do with the tape machine — it was really about the lack of choices, the discipline it took to work with those limitations.”
As a parting shot, Bolas suggests that the producer/engineer remembers to maintain the all-important element of neutrality throughout the duration of the recording project. “A lot of producers want to feel like they’re part of the ‘force,’ and they make the mistake of demanding constant attention,” says Bolas. “As the guy in the control room, you should never ever let your ego get in the way — because when it comes right down to it, the only thing that really matters is the muse. Because it’s fleeting — and if you don’t get it while it’s there, it can be gone in a hurry.”