Posts Tagged ‘HHBTM Records’

Antlered Aunt Lord at Impose

From Athens, Georgia meet Jesse Stinnard, the driving force behind the creative electric outfit Antlered Aunt Lord who presents the world premiere of the Jordan St Martin-Reyes strange forest ritual video for “Hi Beam Hi Priest”. The alt-Appalachian sound from the mysterious Stinnard (who has also played in Tunabunny) will see a proper release fromHappy Happy Birthdy To Me on November 20 with his Ostensibly Formerly Stunted (and on fire) LP finally materializing in the world. This here is outsider pop at it’s very best, as Jesse has been drafting songs by the hundreds over the past decade, some of which are presented here on the artist’s forthcoming long-player.

Take the DIY masterpiece of “Hi Beam Hi Priest” that is exists as a bit of pop genius that 4AD and it’s fellow quiet-loud-quiet devotees never delivered. The Jordan St Martin-Reyes video for Antlered Aunt Lord’s “Hi Beam Hi Priest” presents a pagan induction/baptismal/initiation process of the surreal and the downright silly. Jesse himself is brought out to woods with his mouth covered by electrical tape, stripped, doused in pink painted colors, decorated in an earthy coronation of twigs, home crafted wings, and a a stick to resemble a Baphomet of the absurd. Like a tarred and feathered deity idol ripped from the Knights Templar codes of mythology; Jesse is crowned a high priest among his Antlered Aunt Lord court witnessed by the branches, trunks, and leaves of surrounding trees. “Hi Beam Hi Priest” is a single to keep on constant repeat that promises infinite benediction and DIY pop wisdom accompanied by a ceremonial video that brings Stinnard’s independent ethics and aesthetics full circle. After the following debut viewing of “Hi Beam Hi Priest”, read our interview with Antlered Aunt Lord’s elusive Jesse Stinnard himself.

Click through for the interview!


Antlered Aunt Lord at Austin Town Hall

I’ve spent the last month listening to Antlered Aunt Lord and his new record Ostensibly Formerly Stunted (and on fire). While I already love many of the songs, it was the album that really burrowed into my soul. On one hand it has the oddity and the brevity of early Elf Power, but on the other hand I want to compare it to Nothing Wrong with Love (my favorite Built to Spill) record. It’s a listen that can’t be defined, that can’t be pigeonholed, only enjoyed. I have a feeling that as much as I’ve played it already, it’s going to continue to be in constant rotation throughout the duration of my life. Yeah, I said it. You can grab the record this week from HHBTM Records.


Try the Pie at Three Imaginary Girls

I’m a sucker for lo-fi confessionals. Having someone more eloquent than myself detailing my ownself-conscious inner dialogs comforts me and cushions my own nervous conclusions and assumptions.

The new Try the Pie album, Rest, hits all those chords of hopes and fears and longing and lust.Imagine the minimalist beauty of early Kim Deal demos after she binge listened to the Softies and the first Bright Eyes album. The complex storylines make me feel settled and less alone – a great companion to our short days and months of wintertime darkness.

And Three Imaginary Girls is honored to be able to offer you a chance to hear it first!Behold, our first, post-relaunch exclusive album stream.

If you want to jump to hear one or two tracks, my picks are “Bunkbed” and “Root to Branch.”

Try The Pie is the songwriting project of San Jose based Bean Tupou, who you might know from the bands Sourpatch and Crabapple. This new project is intimate, to say the least. As Bean explains:

“Alu’a” is the Tongan word for goodbye when you are staying and the other person is going. “Rest” is an album dedicated to this sentiment. I wrote the songs over a duration of three years (2005-2008) and recorded it in the last year by myself in my room in San Francisco. Sometimes you can hear someone doing dishes or the beep of a dying smoke-detector. “

The album is quiet and compelling. You can connect with Try The Pie on facebook and hear more music and/or purchase the album on bandcamp. Have a listen!


Antlered Aunt Lord at Backseat Mafia

Antlered Aunt Lord is the project of Jesse Stannard, a singer songwriter who’s spent the last ten years in Athens, Georgia, making music on his own terms and his own agenda. Following whatever path he feels like (his ramshackle shows are legendary in Athens) HHBTM are putting out his first official release, Abandoned Car.

In keeping with what we know about Stannard, it beautifully scuffed, DIY song, full of this scuzzy guitar and mysterious, almost hidden vocals. Somehow though, it’s a thing that’s impossible to ignore, has a melody that gnaws away at you, and doesn’t even make it to the two minute mark.

We’re delighted to premiere the video for the rack right here on Backseat Mafia. check it out below.

Click through for the video.


Try the Pie at Innocent Words

Try The Pie is the songwriting project of San Jose-based musician/writer/artist Bean Tupou. ‘Rest’ is a seductive mix of sugar and citrus, as achingly sincere as Kim Deal at her finest. You can’t help holding your breath to hear how the story ends.

“I wrote the songs over a duration of three years (2005-2008) and recorded it in
the last year by myself in my room in San Francisco,” Tupuo said. “Sometimes you can hear someone doing dishes or the beep of a dying smoke-detector. This album is an example of the slow, whispering tempo, slanted harmonies and embellished metaphors that I grew up listening to.”

As part of the bands Sourpatch and Crabapple, and as one of the creative forces behind the Think and Die Thinking Collective, Tupou has been a fixture on the South Bay’s DIY punk scene, crafting socially-conscious and catchy punk rock while helping creates spaces that are open, accepting, and fun—a universe of gender-neutral pronouns & queer-positive politics.

It’s a record so intimate it feels almost like you’re eavesdropping. You unconsciously hold your breath to keep from being noticed. The songs are littered with household objects, embodied and alive. References to neighbors and roommates abound. Listen to ‘Seahorse’ and hear a story of immobilization and the struggle to stay afloat, simultaneously wistful and withdrawn, youthful and yearning.

“…you are trying to figure out who you are and what you are about, so you make the decision to deal with things privately. When I made ‘Rest,’ I made CD-Rs and just slipped them underneath my roommates’ doors and gave it to people I knew.”

Rest is the sound of a fragile sensitivity—the avalanche of life communicated through tentative wishes and plaintive regrets. An album so open and honest that its very existence is an act of bravery. And when so much of our lives are consumed by fear and what others will think of us, the masks we create to make other people happy, we need records like this more than ever.

“Seahorse” is one of the earliest written songs on the album, along with “A Lot of Things” and “F.Y.I.”. I use the drawn out tempo of the guitar to evoke a watery feeling, like being tugged back and forth by tide. The lyrics are a type of demystification process for me: “I do get farther each and every day.” It was coming out of illusions that love is this perfect thing. I wrote it the first time I got my heart broken,” said Bean Tupou.

“I use the idea of the seahorse specifically because of the male pregnancy the species experiences. I also thought about the fact that these animals do not mate for life, despite these anthropomorphic ideas that these animals are strictly monogamous. Grieving can be a process of redirecting expectations and this song is definitely about grief.

The beep at the beginning of the recording (which sounds like this nautical submarine beep to me) is actually from a smoke detector. I had a fireplace in my room at the time that was not in working order and, instead, had a bunch of wall smoke detectors piled inside of it that would beep occasionally.”


Antlered Aunt Lord at Stereo Embers

Remember this Tunabunny review from 2014? If not, take a quick scan then come back (we’ll wait for you). Intrigued? Well, yes, so were we when offered this latest single from that band’s enigmatic, prolific, uncontainable mad genius of a drummer Antlered Aunt Lord (his mother named him ‘Jesse’) – and cohorts – from his/their upcoming album Ostensibly Formerly Stunted (and on fire), released Nov. 20th on Athens GA imprint Happy Happy Birthday To Me. Frankly, we found that Tunabunny record to be more refreshingly adventurous and confident than almost anything released last year, a real left-field stunner that refused to leave us alone and haunted us playfully deep into the night. The same might be said here, as the shouty-yet-tightly-coiled track builds, stops, starts again like nothin’ happened and just generally leaves us giddily eager for the full-length. Driving crazed prog-pop extraordinaire, there’s something of a Devo feel to it if they’d tried to sound like James Brown doing an impression of Polyrock. Check it out. It’s nothing – and we mean nothing – like you’ve heard this year or pretty much any other. On par with his parent band, there would seem to be nothing less than a bottomless well of inventive go-for-it skewed rock’n’pop’n’roll happening down ’round Athens way. In a very real sense, we’re jealous.


Noon:30 at Raised by Gypsies

If you’ve never said “Noon:30” before then you probably have never talked to me in real life.   Yes, I like to say that because it’s not just funny but it sort of just works, you know?   And a lot of what I like about that idea of time is also what I like about the band Noon:30.  “Finding Release” is something which is there and you think it’s something it’s not (like 12:30) but what actually is just resonates so strongly and is just so unique around every corner.

“Finding Release” has a total of seven songs, though there are only four original songs on here as the final three are remixes by the likes of Aimee, Tunabunny and Bastards of Fate.   This also is worth noting because within the four original songs there is an “Interlude”, but we’ll get to that in a minute.   The three remixes are of “Rodeo” by Tunabunny and then both the other artists remix “Gun”, so yes, of the seven songs on here you will hear “Gun” a total of three different ways.    But trust me, you will love every single one of them.

The first song is called “Dream” and it is perhaps the most interesting of them all because the way it begins this whole album seems to set the tone but it doesn’t really prepare you for what is about to come even though the more you listen to it perhaps the more you do begin to realize that it really is setting the tone for you.    It’s just this somewhat dark, futuristic sounding song with strong female vocals over electro bliss.   Laser shots are being fired in the background and while I’ve heard this sort of electronic music before perhaps, I’ve only ever heard it instrumentally so it is definitely interesting to hear it mesh with the vocals and basically have me engaged from the very first second.

An “Interlude” comes next and it’s an acapella song, which isn’t very long, but it serves as somewhat of a warning with the line “Keep on pushing the buttons you’re pushing and I will fucking crack” standing out particularly to me.   I’m not sure why, but I feel like this “Interlude” is the type of song that you could sing along with to the point where you have it memorized in your head and can just sing it at any time really when someone is messing with you.   In that way, it almost becomes more of a “don’t fuck with me” mantra than a song, but I love it so much.    It’s such an interesting way to transition from the first song- which really stands on its own- to the third song.

For the third song, “Rodeo”, the beats flow and so do the verses.    In short, it is a fight song.   It’s a battle rap.    And it is also particularly vulgar and I mean that in the sense that the FCC would have a field day with it, as she proclaims “Don’t sleep on me ’cause I’m a chick / and I got a pair of tits / I can rock this motherfucker like I’ve got the biggest dick”.    This, of course, before she goes into a lot of “Fuck you all” lines.    You know, I don’t really like to read press releases before I listen to music because I feel like if someone says “RIYL John Mayer” then when I listen to it I might hear John Mayer in it (Which for me would be bad because I don’t like John Mayer)   But when I went to the site to download this one I couldn’t escape one name that this is compared with probably because of the unique quality of the name and that is Nicki Minaj.    It doesn’t sound straight up like Nicki Minaj, but I can see why it would be compared to her and, yes, even if I didn’t read that from their website I would have made that comparison myself.   (Most likely because given the previously mentioned line about “I can rock this motherfucker like I’ve got the biggest dick” and Nicki Minaj having the lyric “If I had a dick, I’d pull it out and piss on ’em”)

This all comes together with the fact that the chorus of “Rodeo” samples Salt N Pepa’s “Push It” lyrically, as she says “I push it / I push it real good” several times and, yeah, I can hear the Salt N Pepa in here to some extent I guess, but even with all of the talk about sex Salt N Pepa has this is just something that parents might not let their kids listen to where as they might not have a problem with Salt N Pepa.    But, of course, for me I like that about this album because it just makes the music feel dangerous in some ways and I like when music feels dangerous not when punk rock can be bought in a mall.

The fourth song, “Gun”, has this grinding to it and for some reason it reminds me of Orange 9mm and not just because they have a song called “Gun to Your Head”.    The lyrics are about what they would seem (having a gun in your pocket) and there is just this darkness to it.   The beats fall somewhere between something out of the television series “Alias” and the soundtrack for “The Crow”.    It is no mistake that this also some hints of PJ Harvey in it as well, which just makes it that much more amazing.

One of the things I like most about this album is that for the first four songs you are really getting a different song each time.   If you listen to these first four songs in a row for the first time you might be taken a bit off guard, but the second time through and after that they begin to make sense- and they do feel connected.    It’s as if you’re expecting Noon:30 to go a certain way after you hear the first and even second song and then they take you somewhere else but it’s actually better than where you wanted to go.   (And don’t get me wrong, “Rodeo” and “Gun” are fairly different even though they perhaps share the most similarities)  But then after you hear these four songs and think you’ve got them figured out, they throw in the remixes and it feels like you’re hitting the reset button on what you knew.

Artists like Noon:30 don’t come along very often but when they do, you have to listen to them and appreciate them in the now.    This is the future of music and I’m glad to be a part of it before I get too old to care.    If everyone isn’t rocking this one soon, they’re going to be playing something similar and I’m going to be screaming on how they’re just ripping off Noon:30 so get in on the genuine right now.


Try the Pie at The Bay Bridged

South Bay-based musician Bean Tupou of Try the Pie is involved in a variety of projects in support of the DIY community, from the San Jose collective Think and Die Thinking to the twee-punk act Sourpatch among others. Using music and art as a platform for socially conscious messages and queer-positive politics, Tupou skillfully offers a hand at helping to create spaces that are inclusive for the underrepresented—-coming from a queer Tongan background themself.

Try the Pie’s first full-length, Domestication, was released earlier this year; its follow-up is Rest, an album of various writings taken from 2005-2008, compiled together and self-recorded in the musician’s bedroom in San Francisco. The solo effort allows Tupou to open up to listeners; beyond the music itself, the approach captures natural, raw sounds that remind us of the comfort of home. Featuring an array of distant background noise — from dishes being washed to the beeping of a dying smoke detector — Rest is an incredibly personal music experience, although capturing the listener’s attention in the intimate story is never overlooked. Tupou remarks,”‘Alu’a’ is the Tongan word for goodbye when you are staying and the other person is going. ‘Rest’ is an album dedicated to this sentiment.”

The album, out via HHBTM Records on November 13, is fragility at the musician’s finest. Stream it for yourself in the player below.


Marshmallow Coast at Creative Loafing

Click through for a stream of a Marshmallow Coast live set from Athens Intensified.


Antlered Aunt Lord at Collapse Board

Antlered Auntlord.
Antlord Aunt Lard,
Aunt Lured Antlered.
With every encounter, you faced a different creature.

The first time I met some Antlords in Athens, they were a trio, and they set up right in front of us, no need for a stage – Brent with the heavy metal drum face, Ted the really tall bass guy, and that curly-haired whirlwind Jesse in the center that would teeter a foot from my face. They would rush from fast to slow, and Jesse’s words spilled off beat, and everyone was jumping and I felt like I was riding my first roller coaster.

Another time, still the trio, but now a row of TVs line the edge of the stage, and they’re playing this dorky guitar tutorial video from the 80s. The long-haired dude on the screens strikes a chord and it rings through the Antlords’ set at just the right key.

Then the Aunt Lords would multiply – and one night, you’d have seven people sitting on the floor strumming guitars. And sometimes they’d shrink, to the point where just Jesse would sing to us on his guitar (notably less hair by now). He listed twenty of his songs on paper, and gave each a number; when he finished one song, he’d roll a 20-sided die to determine which would come next.

There is no stone-set lineup of Aunt Lords. Heck, I’ve been an Antlord on three occasions, and I’ve never even practiced with the gang. Jesse would just come up to me two hours before the show with a bag of percussive props – maracas, a tambourine, a clapping thingy – and so there I’d be, staring at the ceiling and shaking that thang like my dissertation depended on it.

The best gig, though, was the one where Jesse lugged in a 4-track, rigged a triangular reel across the stage, and roped in everyone he could muster for an improvised loop jam freak-out. Three guitars, I think? One sublime Tunabunny plucking synth keys; another Tunabunny held a guitar by an amplifier just for the feedback. There was one drum on the stage (snare or floor tom? My memory fails me), and one drum stick, so I seized both and took to my corner of the stage. Jesse (also a Tunabunny, by the by) didn’t play at all; he bounced around with a microphone, hovered near one of us long enough to snag a loop, then backed away and basked in the racket.

All of this, I probably would’ve told you regardless of which song I chose. But “Monopilot” reminds me of the last Antlord formation I’ve seen, half male half female and four strong, a laughing bunch of friends that welcomed me in their fold. And it reminds me how much I miss that feeling, of being adopted and accepted. It rings with joy, the glorious joy of singing and playing together that I haven’t felt since, well, the last time I became an Antlord. Made me almost cry over the steering wheel when it came round on the album! But I’m OK. And one can’t cry for too long in the presence of Aunt Lords.

Antlered Aunt Lord’s upcoming debut, Ostensibly Formerly Stunted (and on fire), won’t manifest into being until November 20th, but you can still pre-order it from HHBTM here.