Posts Tagged ‘HHBTM Records’

Antlered Aunt Lord at Mad Mackerel

Antlered Aunt Lord is entirely Jesse Stinnard, a guy who’s spent the past ten years in Athens, Georgia as a cherished eccentric in a town known for its cherished eccentricities. His first official release is Ostensibly Formerly Stunted (and on fire), and is out on the 30th November and features members of Tunabunny.

Melodic, lyrically inventive, reticent, and moving – think the missing link between the Pixies and The Byrds if they’d been raised in the Appalachians.

Listen to The Beezwax below.


Marshmallow Coast at Stereo Embers

I’ve had to quit asking. Such has been the abundance of extraordinary music crossing my desk from heretofore unheard-of (at last my me, and here I thought I was pretty aware of the lesser-known corners) that I just can’t ask inside my head as still another modest but exquisite gem of an album makes my pleasure chakras glow like it’s Christmas Fourth of July and sex all tangled together: “Where did they come from?!”

Whereas it often seems that they’ve crawled out of the sub-strata of the sub-strata of the woodwork, most often, as is the case with Marshmallow Coast, those responsible have been at this for a while, with a substantial body of work behind them. In the case of Andy Gonzales I suppose I might have known better – his CV includes of Montreal, Music Tapes, and SEM faves Mind Brains – but the fact remains that Vangelis Rides Again, misleading cover art aside, lands with a flurry of deft, if very synth-rich, surprises.

Whether it be the lonely popsike elegance of “Hash Out Cash Out” that purrs with a dark radiance, the way “Hills Are Alive” takes Sound of Music‘s most famous refrain and injects it with as glint of unease more native to The Hills Have Eyes even as it sighs with the warm reassurance of a soft electric piano and Gonzales’ pining timbre, how the title track takes its name-checked artist and lures him into a shadowed but shining moonstruck cul-de-sac, all floating rural synth, lurking but nimble bass, and a melody to (maybe literally) die for, “Homeless Baby” borrowing liberally from “On Broadway” while permeating it with the hollowed horror of the mundane shame to which its title alludes – synthy echoes bounicing off the city’s buildings on just another night of neglect – or “Forever” obliquely referencing “Over the Rainbow” while drifting through a numinous out there where the immortal clocks in with the sadly temporal, one synth dripping bright silver rain as another scampers slowly underfoot, the track both ephemeral and desperately finite, Vangelis Rides Again tweaks mystery, curries curiosity, and comes this close to solving the world’s problems. Escapist in its pleasingly disorienting way, the album is also as centered as any work I’ve heard this year.

Gem city, folks, gem city, and available here.


Antlered Aunt Lord at Magnet

Antlered Aunt Lord hails from Athens, Ga., and is preparing for the release of new LP Ostensibly Formerly Stunted (And On Fire) on November 20. Today, MAGNET’s got a free download of dynamic track “Hi Beam Hi Priest (Blinker Fluid),” a song that starts out as a muted electronic head bobber and explodes into full-on fuzz rock. Download it below.

Click through for the download.


Antlered Aunt Lord at Austin Town Hall

At a certain point in your life you begin to realize you like to beat your own drum, follow your own path. This is precisely what it feels like when listening to Antlered Aunt Lord, the project of Jesse Stinnard. I don’t mean that it’s completely oddball, but rather that Stinnard just wants to do his own thing. Sure, there’s catchy tunes, even hooks in this song, but in spending time withOstensibly Formerly Stunted (and on fire), it’s become clear to me that you can forgo the modern cliches (musically speaking) and still make a place for yourself and still make music interesting. Kind of reminds me of the first time I listened to Television Personalities; I was like, “this doesn’t feel right…wait…this feels great, I can’t stop playing it.” If you get the same vibe, look for the new LP via HHBTM on November 20th.


Antlered Aunt Lord at Flagpole

Antlered Aunt Lord, the slow-simmering local garage-pop project led by songwriter Jesse Stinnard (also of Tunabunny fame), is all set to release its Ostensibly Formerly Stunted (and on fire) LP Nov. 20 via HHBTM. Today, we’re tickled pink to provide y’all with a first taste of the LP via the video for “The Beezwax,” the record’s fuzz-forward, steadfastly hummable lead single.

Says Stinnard:

Lucy Calhoun (guitarist/singer in AAL) made [the video] after sitting down and learning iMovie one day. It stars Brigette, Destiny, Noam and Ravi. The more I watch it, the more it seems to be about a micro-universe in a cup and our effect on it.

Watch “The Beezwax” below:

Click through for the video!


Bunnygrunt at Maximum Rock and Roll

Even though the title, cover artwork, and the first few seconds of each side are pretty clever jabs at Black Sabbath, this group doesn’t appear to be the slightly hilarious stoners blaring tired-ass doom I expected, and I am super thankful for that. Instead we have some super basement pop that is slightly jangly at times and just a little bit cute. not so cute that you might vomit, but yeah, it’s pretty fucking cute. This is a good 90’s feeling record that I would totally blare while I clean the fuck out of my house. Like maybe if the Look Outs were on Plan -It – X (sorta) but semi-secretly wanted a record deal. Sorry, but I like this.

Try the Pie at Collective Zine

I mentioned on a recent review of Jess Locke’s LP that I’d been listening to a lot of downbeat, bedroomy recordings lately and I think this one fits in well with that. Try The Pie is the solo work of Bean Tupou who is based in San Jose and is also a member of Crabapple and Sourpatch – neither of whom I’m familiar with and likely sound absolutely nothing like this but I feel like I might want to check out both bands having heard this record now. Bean’s vocals are light and airy and it’s mainly acoustic guitar that accompanies the singing although there are a few background things going on – even the sound of dishes being done at one point. It’s all quite delicate and there are nice harmonies along the way. I like this kind of stuff so am glad it was sent in. I’ve also learnt my first word in Tongan as a result of writing this review and reading the Bandcamp page.


Try the Pie at Impose

It’s probably because I’ve spent most of my life writing that it’s only now, as I’m in a band, that I’m feeling the effects of reception. When you write 90-page screenplays, it is both fortunate and unfortunate, that few, if any, people end up reading them. I’ve never had to worry about authenticity or selling myself. I’m more or less anonymous.

With my band, Littler, however, I perform. I can read about myself on the internet. Nearly half of questions directed towards me (by people at a show or interviewers) have to do with my gender. As someone, by and large, raised by a single father, my female self is something I’ve struggled to own. This process felt normal until I started to feel as if I needed to have solidified my identity in order to fit into this grander, musical narrative put on me. These types of narratives, whether they relate to a person’s gender, race, sexuality, or as any other foothold into an artist’s story, are everywhere, all the more so because of the internet.

In some ways, it would seem that being in a band now is easier than ever. Record a demo on GarageBand, put it on the internet. Voila. But, while it’s true that it’s easier to get your stuff out there, the collective attention span is shorter. This means there’s a larger emphasis on having a story that can make you distinct from the masses. On a less cynical note, this also means, if you want to, you can craft your own narrative. You can sell yourself any way you want, provided you’re not working with people who want to do that for you. Particularly for people of marginalized communities, this is really important, because often the opportunity to write your own story is not given to you. Much of the time, some journalist, superficially acquainted with you, will write it for you.

For one reason or another, the narratives that are being woven are uncomfortable to talk about, whether for their benefits or their shortcomings. However, to neglect to do so would be a mistake.

Here are some narratives that I encounter and am uncomfortable with. I’ve listed below the reasons why.

I wish I had started playing music earlier but I didn’t. Now I worry that I fit into a stereotype of a lady who is not as experienced at her instrument, and bring all other really, talented ladies down by being a reason for dudes to not take us seriously.

This is dumb and I shouldn’t have to feel personally responsible for the fact that ignorant dudes don’t take women seriously. I am not emblematic of 50% of the population and if you are the kind of person who thinks this sort of thing anyway, whether this manifests in literal comments like, “Girls don’t know how to play their instruments,” or patronizing gestures like adjusting my amp, you are the problem. Not me.

A variation on this theme is feeling like I always have to be tough, that my band, by virtue of three-quarters of its members identifying as female, will have to be political, and that I can’t ask for help when I need it. All of these things only seem really unfair in comparison to bands with dudes. They exist, they pave their own way and no one is asking them about feeling out of place, how to fix inequalities within the punk scene, or asking them why they chose to play with other dudes.

Click through to see the rest!


Try the Pie at Magnet

Try The Pie’s sound is like a lazy early morning—it’s uplifting but peaceful. The new song from San Jose songwriter Bean Tupou is called “Alu A,” and it drifts along a river of beautiful weaving vocals and a barren acoustic strum. The track comes from her the upcoming Rest, which will be released November 20. Download “Alu A” below.


HHBTM Records Label Profile at Innocent Words

Mike Turner never actually intended to start his own record label; it just sort of happened. Years later, he never intended to start his own music publicity firm. That just sort of happened as well. But 16 years after the first Happy Happy Birthday to Me Records (HHBTM) release, he has one of the Southeast’s most impressively eclectic indie labels going. Similarly, two years after founding Crashing Through Publicity, Turner is representing an equally impressive stable of bands.

Don’t ask how he found the time, but Athens, Georgia-based Turner took time recently to talk about starting his label on a whim, founding the PR firm out of necessity, and offered up a peek at the rest of the albums he’s putting out this year.

Innocent Words: What made you decide to start your own label?

Mike Turner: The label was never actually meant to be a thing. I was getting ready to put an end to this ’zine I was doing at the time, The Bee’s Knees. I had been doing the zine for four years, and there was gonna be a CD comp that came with it. I started putting together the comp and had zero plans of it being a label. It was just a comp to come with the ’zine. I had saved up money for a potter’s wheel and a kiln and I really just wanted to do that, but I decided to use that money to print a lot more copies of the ’zine and let it go out with a bang by having a CD that came with it.
In 1999 I guess doing a CD was a big deal to me in my mind or something. The money from the comp and ’zine would just replace the money I had set aside for the wheel and the kiln, but that never really happened. I had so much fun putting together the comp and hand-making all the sleeves, and the process of making at the time what felt like a large scale art project kinda just took over. The first CD comp, ‘Happy Happy Birthday to Me Vol 1,’ came in a sewn fabric sleeve and had a foldout mini poster and a numbered and stamped insert. I even carved the stamp. This was a full-on all handmade
sleeve project.

The next thing I knew, the comp and ’zine had sold out in pre-order, and I found myself wanting to do a 7-inch singles club with all handmade sleeves. I put together a cassette comp as well within the first year and handmade all those sleeves too. With the comps and the singles I had handmade over 8,000 sleeves. Not sure how really, but I even pushed it to make each of the singles sleeves using a different process. There wasn’t any plan, to be honest, to start a label; it kinda just grew out of an art project and a fixation on large scale production work.

Click through for the rest of the interview!