New Jersey’s FRND CRCL (pronounced Friend Circle) have just dropped their sophomore album ‘Internet Noise.’
Echoing the sounds of the early 2000s heyday of pop-punk, the four-piece has made a name for themselves in the Tri-State music scene, while constantly challenging and modernizing their sound.
Formed in 2018, Aaron Smith (Drums) and Dom Giacalone (Lead Guitar), along with dual vocalists Zac Johnson (Guitar) and Adam Skirvin (Bass), combine their unique musical backgrounds to create a fresh take on the genre. FRND CRCL is not afraid to incorporate lyrical wordplay, the occasional pop culture reference, and influences from various genres across the board.
San Diego’s Hey, Chels have released their debut full-length ‘Everything Goes’ digitally for FREE on Bandcamp. The LP is also streaming on DSPs and will be released on vinyl later this year via Brainworm Records.
The band says, “Our reasoning is that we donât feel right asking for money right now with the current state of everything. If you feel like helping the band out, share us with a friend, add us to a playlist, share us on your socials, we would very much appreciate it.”
A music video for the new track “You’ve Got You Now”
The follow up to the band’s well-received 2019 self-titled EP, âEverything Goesâ was recorded by Pat Hills at Earthtone Studios in Sacramento, CA.
Due to the current state of the world Hey, Chels had to cancel all tour plans but will be back out as soon as it’s safe again.
Hey, Chels is what you get when you spend 10 years of your life working for a degree youâll never pay off. Itâs realizing the whole world is terrible, while also serving as a reassuring pat on the cheek that everything is going to be ok. Itâs a warm summer day and a cold winter night. Hey, Chels is a four-piece rock n roll band from San Diego fronted by Jax Mendez (New Way On) and featuring Stephanie Presz (The Newports) on drums, Kevin White (Squarecrow) on guitar, and Ricky Schmidt (Western Settings) on bass.
POP EVIL is the bridge between life-affirming hard rock hit-making and the burgeoning new frontier of genre-bending postmodern playlists.
A crowd-pleasing band unafraid to embrace the heaviest and most melodic ends of the spectrum, with a seemingly endless stream of No. 1 hits veering between fist-pumping anthems and timeless power ballads. POP EVIL delivers their most ambitious rebirth yet with a jaw-dropping sixth album.
âLet the Chaos Reignâ and âWorkâ arrive as a twin assault of invigorating readymade hits for 2020, from an album filled to the brim with a dozen tracks each worthy of a dedicated spotlight. âLet the Chaos Reignâ is the heaviest single the band has ever dropped, a rousing fight song of self-determination and rising to meet any challenge with courage and strength. By contrast, âWorkâ puts its heavy guitars atop grooving rhythmic punch, and EDM flourishes, as it champions the working-class heroes struggling to persevere across all industries today. Â
Pop Evil has been a staple at major festivals and in theaters and clubs for nearly two decades, despite the groupâs relative youth. As theyâve ruled the roost with No. 1 Billboard Rock singles like âTrenchesâ, âDeal with the Devilâ, âTorn to Piecesâ, âFootstepsâ, and âWaking Lionsâ, theyâve taken their inspired message to the people, on tours with modern rock titans and veteran acts alike. One listen to any of the songs from the impressive body of work laid down by the band on Lipstick on the Mirror (2008), War of Angels (2011), Onyx (2013), Up (2015), and the self-titled smash Pop Evil (2018) confirms exactly how Pop Evil built such a diverse fanbase. On their go-for-broke sixth album, the group doubles down on the yin-and-yang at the heart of their sound. Thereâs no other band that bounces between a song like âWaking Lionsâ and âA Crime to Rememberâ or â100 in a 55â so effectively and with such overwhelming success.
How are Kakaty, longtime guitarists Dave Grahs and Nick Fuelling, bassist Matt DiRiot, and powerhouse drummer Hayley Cramer able to flip the spectrum so seamlessly? âIf my voice sounds good on it, the hook is catchy and memorable with a single listen, and it will go over well live, weâre not afraid to draw from any genre that we see fit for inspiration,â says Leigh. Collectively, the bandâs previous five albums account for over a million copies in worldwide sales and over 600 million streams. Lipstick on the Mirror found its way to listeners via a major label re-release, despite the business trouble that resulted in Pop Evil tearing up their major label contract on stage, in what Spin Magazine called one of the Ten Best Moments of Rock on the Range. War of Angels brought Pop Evil to a worldwide audience. Up debuted at No. 25 on the Billboard 200 and produced no less than three Top 5 Mainstream Rock singles: âWays to Get Highâ, âTake it Allâ, and âFootstepsâ, which went to No. 1. This was on the heels of the three No. 1 Rock singles from Onyx. Pop Evil debuted at No. 5 on the US Top Rock Albums chart. âBe Legendaryâ was one of the Top 10 most played songs of 2019.
The signature Pop Evil elements of the past are found in the music they make today, amplified and sharpened like never before. The utmost respect is paid to the fans; part of that respect is in making sure to never simply repeat whatâs come before. The âEvilâ will move a crowd. The Pop embodies groove, vibe, and atmosphere, extending a warm welcome to all comers.
Hartford, CT musician Antonino Lappostato, frontman of indie rock band Con Etiquette has released a new solo EP title ‘I Too, Am Flawed.’
Antonino says, “This was the first song I wrote for the record and conceptually, spiraled into an inspiration for this collection. Hence the title for the song and the record; Coming to terms with being flawed as a human, and everything from my past has shaped what and who I am currently. All of these events are equally important, whether they where good, bad, beautiful, horrifying, tragedy, loss etc. It is all part of our experience.”
A frontman venturing off into
solo territory creates a path thatâs well-worn and well-understood, but few
take detours like this out of necessity. Connecticutâs Antonino Lappostato spun
off from his band Con Etiquetteâa New Haven love letter to the stateâs
expansive alt-rock bloodlineâto better articulate the themes tucked away in his
lyric sheets. While Con Etiquette also grapples with Lappostatoâs history of
substance abuse, mental health struggles, and the aftermath of sudden loss,
these cathartic vignettes were often lost in translation. ‘I, Too, Am Flawed’ strips
away the full-band glimmer to reveal the heartbreak and humanity underneath.
Its immediateness and vitality is no accident: Lappostato wrote everything in a
few hours with just an acoustic guitar and a piano.
Lappostatoâs sporadic blitz of songwriting accomplished a long-term goal that brought closure to unspeakable tragedy. After losing his mother to cancer in 2005, Lappostato strived to create a collection of tracks that uncover the many stages and shades of grief.
Midpoint âDying to Grieveâ memorializes close friends lost to suicide and overdoses and criticizes the hypocrisy of mourners who grieve for the wrong reasons, while the title track places his mental well-being under a microscope to show where the lines of sobriety, clarity, and eulogy overlap. All the while, Coley OâToole (We the Kings) dresses up the bare necessities with lush strings. With its elevated production values and plainspoken emotion, ‘I, Too, Am Flawed’ is a document of whatâs learned when everything suddenly changes and a welcome companion to anyone traveling through their own hardships.