Independent Record Label | Est. 2009
Wilmington, North Carolina



Wednesday, November 22, 2023

inifinitikiss US Tourdates

Nov 22 at Flight Gallery in San Antonio TX
Dec 5 at Yes We Cannibal in Baton Rouge LA
Dec 22 at Drip Coffee in Columbia SC
Jan 6 at LoFi Brewing in North Charleston SC
Jan 12 at The Orange Spot in North Charleston SC

A Gunslinger Gone Bridge Tender: Jon Rauhouse & Blaine Long LP Review

[Repost from Blood Makes Noise; by Taylor John Salvetti, November 17 2023]

One Day Will Never Come Back by Jon Rauhouse & Blaine Long is someone looking backward and opening the waterways for a safer passage.

You’ll hear a certain tremor in Blaine Long’s vocals, it’s become canonized with this certain style of vocals and poetic delivery. But it feels different here. It’s no surprise that Long’s voice is appropriate—no, crucial—to the pairing of Jon Rauhouse’s instrumentation and work on the pedal steel. Some might hear it as a lonesome instrument. Still, even the likes of Lloyd Green and Jimmy Day (the great steel players of the past) were cutting through up-tempo songs and party favorites just to get to the ones that were slow and low, the ones where pedal steel can do what it does best: weep in an open tuning. 

The instrumentation on One Day Will Never Come Back is Rauhouse waving you down the stream, just having opened the bridge for you and yours to sail safely through. He’s not gone, no, but a fettered few years of quarantine and chemotherapy have put him in a state of obligatory reverie. He’s still making music and touring when he can, but this album feels like a live-in-the-moment manifesto. “I’m 64 and older than Elvis and Jesus,” says Rauhouse on “Thanksgiving.” It’s an ego death, it’s a call to action, it’s that feeling of impending doom that is immediately followed by beautiful acceptance.

“I’m an earthbound angel stuck on this merry-go-round,” sings Long on the lead single, “Hey Babe,” released in October of this year. One can’t help but see the tenderness of existence in these songs. It doesn’t leave you wanting much. The bases are covered, the sun has set over an arid landscape, and this rings true in the final track, “The Queen is Dead.” It’s a low and slow melodic instrumental with a sweeping chamber orchestra, a delicate guitar lead, and a click of snare rim that feels like it’s keeping time for something larger.

One Day Will Never Come Back is an album of accumulation. It feels like time and life, bundled into seven tracks, like we’re all sitting at the same table, a fine meal shared between friends. Our wish is that there could be more: more friends, more food, more time, and more life. But we can only get so lucky.

Jon Rauhouse & Blaine Long One Day Will Never Come Back will be released by Fort Lowell Records on Friday, November 17th.  PRESAVE / LISTEN NOW:

Saturday, November 18, 2023

Summer Set - “Center of Attention”

[Repost from more than adequate; by Matty Monroe, November 5, 2023]

RIYL: 70s soft rock/power pop revival with a little bit of twang, Dr. Dog, Fruit Bats, Woods, Kurt Vile

This one was a last minute addition to the show as I had to cut some tracks due to FCC violations, but God am I glad to added it to the show as this song is just charming as hell. While I wrote my own RIYLs for this one, here’s the list the band/label provided:
FOR FANS OF: Beulah, Beachwood Sparks, BRONCHO, Destroyer, Devendra Banhart, Dr. Dog, Drug Cabin, Girls, Good Morning, Grandaddy, Irving, KITIMOTO, MGMT, Helado Negro, The Nude Party, Pavement, The Radio Dept., R.E.M., The Replacements, Rolling Blackouts Coastal Fever, The Sea and Cake, Spiritualized, Spoon, Small Black, Steely Dan, TOPS, Kurt Vile, Wilco, Wild Nothing, Woods, Yo La Tengo

That’s a lot of band with some pretty disparate sounds, yet I do hear all of this somehow in this track, as at the end of the day: it’s some great porch beer music. Special thanks to my good friend Taylor Grimes from Swim Into The Sound for recommending this one on Twitter!

Friday, November 17, 2023

OUT NOW: Jon Rauhouse + Blaine Long 'One Day Will Never Come Back' [12inch LP]


“Hey babe.” Anyone who’s ever spoken with pedal steel guitarist and multi-instrumentalist Jon Rauhouse has heard his signature greeting, at once playful and genuine. It’s just the way Rauhouse sounds when he says it: affable, anachronistic, hep, like a man from another time. 

The catchphrase informs one of my favorite songs on One Day Will Never Come Back, Rauhouse’s new album of bruised and tender songs with singer/songwriter Blaine Long. Titled, you guessed it, “Hey Babe,” Long wrote the song with Jon—deep into treatment for cancer at the time—at the front of his mind. “I’m an earthbound angel stuck on this merry-go-round/We take it day by day, night by night,” Long sings with plaintive resignation in his voice. 

One Day Will Never Come Back is a slim volume, only seven songs, but like At Fillmore East, Giant Steps, and Maggot Brain before it, it packs a lot of life and death into the proceedings, alternating between black comedy, celebratory rave-ups, and warmhearted expressions of thankfulness. Weaving together touches of desert twang, Byrdsian chime, and soulful horn arrangements and into its Americana contours, it represents a deep friendship and connection between Long and Rauhouse. With Rauhouse acting as producer, they cut the album at Sonic Piranha Studio, a familiar zone to both songwriters, who record their podcast The Musicians Guide to Everything podcast there, exploring the ins-and-outs of the industry with guests like Jakob Dylan (The Wallflowers), Billy Bob Thornton, and Neko Case, all of whom Rauhouse has accompanied on record.

Best known for his three-chair turn on The Voice in 2016, Blaine has shared the stage with artists like Beth Hart, Clint Black, Jonny Lang, and Nils Lofgren. He and Rauhouse found themselves sharing stages together after Long invited Rauhouse to join him for a “Christmas” or “New Year’s” gig at Tarbell’s years back. One Day Will Never Come Back finds them joined by a close-knit roster including Steve Berlin of Los Lobos, Rachel Flotard (Visqueen), Jesse Valenzuela (The Gin Blossoms), and Lindsay Cates and Megyn Neff, Rauhouse’s compatriots in the SunPunchers. 

Trading lyrics and musical ideas all along the way, Rauhouse and Long cut into a soulful racket with “Thanksgiving,” an ode to the life of a gigging musician that includes Rauhouse in a rare vocal turn, confessing in a groggy voice: “64 and I’m older than Elvis and Jesus.” Bad role model Charles Bukowski makes a lyrical appearance, as do “The Garden of Eden,” alongside “tombstone stop signs” and “bad girls and long nights.”

On “Pretty Love Song,” the duo welcome Valenzuela to sit in. For Long and Rauhouse, who grew up in the Phoenix metropolitan sprawl, it was heavy with meaning.  “Growing up, I couldn’t listen to non-Christian music, but somehow I got a hold of The Gin Blossoms first album, Up and Crumbling,” Long says. “I had to hide that cassette, when you’re a sheltered little kid, you hold onto those items like gold, they're little scriptures. It was a big moment. He just turned our song into a Gin Blossoms song in seconds.” 

Rauhouse–whose doctor has since deemed his cancer “treatable, not terminal”—also found himself drawing from his own background, including a harrowing scene from his youth in which Rauhouse witnessed the shooting of a friend in a mobile home. 

“I’ve never written autobiographical music before,” he confesses. “But I have a completely different view on the whole world now.” Zooming far enough out, he knows that the moment we have is fleeting. I like to read the title One Day Will Never Come Back as a recognition that the only moment we really have is this one. These seven songs, about near misses and second chances, find Rauhouse and Long living in that moment, open to the pain, open to the laughs, open to it all. 

~ Jason P. Woodbury

Jon Rauhouse + Blaine Long One Day Will Never Come Back is now available on all digital platforms.


Thursday, November 16, 2023

Common Threads

Common Thread; photo by Jody McFarland

[Repost from Folio Weekly; by Amiyah Golden, November 1, 2023]

With the emergence of new sounds being birthed from the inspiration of musical innovators every day, it would be a disservice to not pay homage to the artists who have paved the way by experimenting with and tinkering the sounds we appreciate today.

Jacksonville is the birthplace of so many reputable names in the music industry but one band in particular has escaped much of the mainstream recognition they deserve. So I decided to “throw-it-back” for this month’s Local Artist Spotlight and feature the ’90s band, Common Thread, who originally hail from Orange Park.

Common Thread was formed by two friends, Joe Parker and Travis Taylor. The two skateboarders found an interest in guitar — on their own, originally — but one day, Taylor suggested the two come together to form a band.

“It seemed far-fetched to me that anyone would be willing to play with us as neither of us demonstrated a tremendous facility for the instrument,” said Parker, “We had enthusiasm and tastes, though, that proved to be enough to get the ball rolling.”

Although doubt factored into Parker’s mind initially it didn’t stop the duo from expanding to a full-fledged group by Christmas of 1989. The pair recruited bass guitarist Joey Zimmerman and drummer Donald Kilpatrick.

Now a solidified band, the group was determined to break through into the world of music.

By the following year, Common Thread had enough music to record, and with the help of aspiring engineer Scott Whitter, the band made it happen resulting in the birth of their album, “Six Marbles and a Bowl of Mud.” Whitter is also credited for engineering and helping produce their praised project, “Fountain,” which will soon be available on vinyl and all streaming platforms.

I inquired about the song-making process for the band and Parker shared that much of it sparked from the organic jam sessions between himself and Taylor. With one of the two usually sharing a new guitar riff that may be accompanied with cool lyrics, it served as the first layer to the final production of a song. Parker shared with me some of the inspiration for his writing in particular: “If I liked a turn of phrase. If I wanted to relay a shred of a dream. If I wanted to take a shot at someone, If I wanted to seduce a love, I did it there as well as I could.” 

With the two perfecting their songs by sorting out the structure and arrangement, it was a necessary process that resulted in the stellar songs they created.

The band prioritized their practice sessions with the group practicing two to three times a week to allow their songs to feel like “second nature” They wanted to be well-equipped to share their original music.

I was curious about how their new band got along with more established groups at the time, but Parker assured me that so many other local bands like Lysergic Garage Party, Crowsdell, Rein Sanction shared their support. Common Thread played beside many fellow bands at venues such as Einstein A Go-Go, Metropolis and Dockside.

“The music scene was small but vital,” said Parker, “And wildly varied. None of the bands sounded alike.”

With music from the ’90s still having so much influence today, many bands bridged into their very own sound with the subgenre of “shoegaze” music rising at the time and now having its full circle moment today with its new found popularity, many people credit Common Thread for contributing a big part to the sound.

While Common Thread serves as inspiration today, they also credit bands such as,The Smiths, Echo & the Bunnymen, Sonic Youth, Nirvana and Screaming Trees, as examples of inspiration. The band reside in their own unique sound, but the variances of musical tastes and inspiration served as a “weird blend that we reflected weirdly,” as Parker put it.

James Tritten of Fort Lowell Records — an online forum documenting music — serves as a great example of the impact that Common Thread has had on listeners.

With Tritten knowing Parker and Taylor personally before they embarked on a music career, he can speak to them as people, as well as musicians.

A musician himself, Tritten was a part of the band Sella, recalling their very first show being with Common Thread at the Doctors Inlet Civic Center in Orange Park.

Tritten recognizes Common Thread as being an inspiration in the past, as well as in the present for him as well as his wife, Tracy, who is also a part of Fort Lowell Records.

“They introduced me to new sounds and textures I had never experienced before, which led me down a path to learn about the musicians and bands who were influencing Common Thread,” Tritten said. They also helped me discover new instruments, effects or musical techniques to use myself as a musician. They pushed boundaries and opened doors I was unaware of.”

With Lowell being a huge supporter of the band, as well as the 30th anniversary of Common Thread’s album,”‘Fountain,” it became his mission to make the project available for everyone to hear.

“To hear people who were not even born in 1993 have the same reaction to them that we had ourselves 30 years ago is beyond awesome, and it’s why we are doing this,” he added.

With apps like TikTok and Instagram being a great way to share music, Tritten beams at the ability to use Common Thread’s songs like “Lydia Elle” and “Smoldering Black” on these platforms that did not even exist 30 years ago. It feels very full circle and is the perfect way to carry on the memory of former bandmates Zimmerman and Kilpatrick, who unfortunately passed away.

Tritten reflects on the memories he had with the two:

“I loved going to watch [Joey] race his car up at Jax Raceways, or just talk about cars in general.  I remember his laid-back style and approach to skateboarding, always with a cigarette hanging off his lips barely holding on, and with his blond hair always covering his face just like when he played bass guitar; how the heck could he see the ramp?” recalled Tritten. “Unfortunately for me, I never had the opportunity to get to know Donald to the same degree. I always thought Donald was an excellent drummer, and glad his contributions were documented on ‘Six Marbles and a Bowl of Mud.’ [But] Donald and Joey will always hold a very special place in our hearts.”

While we might not be able to see Common Thread in person, we now have the ability to listen to the band on various subscription-based streaming sites. And if you’re like me and love collecting vinyl, you have the ability to do so as well. So go check out “Fountain” and become transported into the soundwaves or grab inspiration for your next project. Whatever you choose to do, enjoy the legacy of Common Thread.

Wednesday, November 15, 2023

‘Camouflage’ by Summer Set | New Self-Titled Album

[Repost from It's Psychedelic Baby Magazine; by Klemen Breznikar, October 23, 2023]

Exclusive track premiere of ‘Camouflage’ by Summer Set, taken from their upcoming self-titled album, out November 3rd, 2023 via Fort Lowell Records.

Summer Set’s first official release is a timeless collection of mostly down-tempo captivating indie rock. Frontman Brian Weeks (Reverse, The Rosebuds) is a master at musical production and songwriting. His lyrical content and delivery, backed by an indisputable knack for melody and rhythm, provide an immediate sense of comfort, ease, and familiarity. The group’s self-titled album, Summer Set, is chock full of pop gems that will have you singing along before the record is over.

Hailing from Wilmington, North Carolina, Summer Set originally formed at the start of the third millennium with Weeks joined by musical partner Robert Rogan and a revolving cast of friends — Jeff Reardon (Rodeo Boy), Seth Moody (The NoSeRiDeRs), Jonathan Bass (The Rosebuds), Tripp Cox (Onward, Soldier). In those early years, various recording sessions and self-produced releases would document the band’s incarnation. But eventually Summer Set would evolve to become a more-or-less two-man operation in its second decade, foreshadowing what was to come from Weeks and Rogan years later as De La Noche; an Indie RnB project featuring long time friend Ivan Howard from The Rosebuds on vocals. Now, more than twenty years later, this first proper album from Summer Set is a formal testimony chronicling their sheer brilliance.

“The band has been through long spells of inactivity, but it’s still an active band”

How much time and preparation went into making your album?

Brian Weeks: It took over 20 years to make this record. The songs had been recorded and shared online and through CDrs, but were never officially released. Some of the songs were written while I was living in San Francisco in 2001-2002, and most were recorded through home recording methods over the last 15 years or so. Two songs on the record are part of a recording session we did with Michael Swart. The record features songs from three different line-ups of musicians that have played in the Summer Set.

Can you share some further words about the making of the record?

A few years ago, I was fortunate to befriend James Tritten and Tracy Shedd from Fort Lowell Records, and they were interested in putting out a Summer Set record. James and Tracy went through my old recordings and liked what they heard. They were surprised that the songs hadn’t had a proper release. Due to their enthusiasm, I let them pick the songs and sequence for the record. I’m so happy that these songs will finally be available. It’s always been a life-long dream to have a vinyl record of my music.

How did you originally get together and what was the overall vision of the band?

Summer Set started as a 4-track project, a way to keep in touch with my friends back in NC when I had moved away. We would send tapes back and forth of new music and I started sending my own goofy songs. I would title the tapes based on the seasons. I sent a tape called Summer Set because the songs were written in the summer and the name stuck for me. When I moved back to NC, I started a band called Summer Set. Looking back, I’d say that we always wanted to write catchy songs with memorable melodies and lots of guitars. The band has been through long spells of inactivity, but it’s still an active band.

What’s next for you?

The band has begun playing live shows again and we are writing and recording new songs. The current line-up is Dustin Codair on drums, John Manning on guitar, Robert Rogan on bass and me on guitar and vocal. We will be putting out an album of recently written songs in the future.

Tuesday, November 14, 2023

Doggy Daycare - "acid walk"

[Repost from If It's Too Loud; by Ken Sears, November 9, 2023]

After hearing Doggy Daycare's "(forgetting) sarah marshall" back in July, we said we couldn't wait to hear what they did next. The wait is officially over with the release of a second single, "acid walk." The southern shoegaze band really takes that genre to new levels with this one. The song has all the fuzz required with shoegaze, but the guitars have a distinct if odd twang to them. It's almost like if Archers of Loaf decided to switch up genres a bit. "acid walk" has a fuzzed out laid back vibe you just couldn't get anywhere else but the south. Doggy Daycare have created a new sound that is truly all theirs, and once again, we're dying to hear what comes next.

You can listen to "acid walk" below. I Love My Friends will be released via Fort Lowell Records. For more on Doggy Daycare, check out the band on Instagram and Twitter.

Monday, November 13, 2023

New album: Summer Set || Summer Set

[Repost from Add to Wantlist; by Dennis, November 6, 2023]

Wilmington, North Carolina-based indie pop band Summer Set originally was founded over twenty years ago by Brian Weeks and Robert Rogan, then joined by a revolving cast of friends including Jeff Reardon, Seth Moody, Jonathan Bass and Tripp Cox. Although they released some self-produced work in their early years, we can consider this self-titled overview of ten previous highlights as their first proper album. We are taken on a pleasant journey through time along almost-perfect guitar songs full of hooks and evocative lyrics (from uptempo standout track Favorite Places: “Then we went to the park, tried to get there before dark // Hand on my knee sipping Japanese tea, yeah you”). That Weeks and Rogan have taken a more electronic path in between with their contemporary R&B project De La Noche is reflected in the synth-driven tracks Red Wine (in which Toto’s Africa is sampled) and An Invitation, which shows how versatile they are. All in all, this is a melancholic, atmospheric and dreamy retrospective that leaves us wanting more, and reportedly we don’t even have to wait that long for new tunes.

Summer Set’s self-titled album is out now digitally and on vinyl LP through Fort Lowell Records.

Add to wantlist: Bandcamp || Fort Lowell

Sunday, November 12, 2023

Jon Rauhouse & Blaine Long - "Nothing Lasts Forever"

[Repost from If It's Too Loud; by Ken Sears, October 30, 2023]

The duo of Jon Rauhouse and Blaine Long have had different paths in music. Rauhouse has been Neko Case's longtime guitarist, released a duets album with Eric Bachmann, and has been a member of Grievous Angels. Blaine Long came to prominence as a contestant on The Voice. The two have paired together on an upcoming album, and just released a new single. "Nothing Lasts Forever" has that perfect mainstream neo-folk sound. It's not quite folk-pop since it's rooted to much in traditional folk, but this is just about as pop as traditional folk can be. It's a little bit ramblin', and just has that laid back warm sound that sucks you in. In particular, the slide guitar on "Nothing Lasts Forever" is one of the warmest around and nearly hypnotic.

You can listen to "Nothing Lasts Forever" below. One Day Will Never Come Back is due out November 17 on Fort Lowell Records, and is available for pre-order through Bandcamp. For more on Jon Rauhouse & Blaine Long, check out Jon Rauhouse's website here, and Blaine Long's website here.

Friday, November 10, 2023

OUT NOW: New Singles from both Sheme of Gold + cydaddy

This Water is Life is a self-sustained and ongoing series of split EPs with two express purposes: to highlight new hip-hop / indie rock music from Southeastern North Carolina, as well as to provide a platform for Cape Fear River Watch and Coastal Plain Conservation Group to deliver up-to-date authoritative reports on the health of the Cape Fear River Basin for both human beings and wildlife.

Volume III features Sheme of Gold and cydaddy. Today, November 10th, one song from each artists has been released into the world as a digital single for your enjoyment ahead of the full EP's release, which is set for December 1st. Click the links below to listen to Sheme of Gold "Rap Game Tan Sanders (Remix)", ft. D$5, as well as cydaddy "Cheers (Water Mix)".


Hip-Hop: Sheme of Gold

Sheme of Gold is an artist born and raised in Goldsboro, North Carolina, who relocated to Wilmington to attend culinary school in 2019, six months before the COVID-19 pandemic hit. His unique style of hip hop is nostalgic and psychedelic, which grabs the listeners attention right away. His stories shed light on the struggles he’s endured and the confidence and braggadocio it takes to make a man of this stature. 

Indie Rock: cydaddy

cydaddy is a solo recording project for singer-songwriter / multi-instrumentalist Cyrus Goudarzi. Cyrus’s musical journey started in high school exploring home recording and sneaking around local shows in Wilmington, North Carolina. After an album release in 2010, his musical journey continued to Chicago, Illinois, where he would fill in rotating lineups for the next several years. Following, cydaddy was a leading member of local salt rock outfit Reef Blower.  Unquestionably, cydaddy is a product of his environment in the wildlife of the southeastern coast and has a heavy heart for the natural habitats that have shaped his years.

Tuesday, November 7, 2023

OUT NOW: Doggy Daycare "acid walk" [Digital Single]

Written in the haze of a blooming romance, “acid walk” is a paean to the power of love & research chemicals. Continuing the new legacy of Doggy Daycare with its dilated fuzz tones and spacious soundscapes, the song swims in the ethereal vibes of its own unique blend of raucous shoegaze and pleasantly haunted psychedelia. Best enjoyed in a new environment with no cell service.

Doggy Daycare started as a bedroom coping mechanism by Adam Bastug. In the process of creating the first batch of songs, lead guitarist Joshua Sullivan, drummer Connor Simpson, and bassist Ethan Jenkins came along to contribute different parts. That solitary project then bloomed into something new. Their signature blend of southern shoegaze, 90s angular indie rock, and unexpected humor quickly established the band as torchbearers of melodic, guitar-driven indie rock.

Friday, November 3, 2023

OUT NOW: Summer Set 'Summer Set' [12inch LP]

Summer Set’s first official release is a timeless collection of mostly down-tempo captivating indie rock. Frontman Brian Weeks (Reverse, The Rosebuds) is a master at musical production and songwriting. His lyrical content and delivery, backed by an indisputable knack for melody and rhythm, provide an immediate sense of comfort, ease, and familiarity. The group’s self-titled album, Summer Set, is chock full of pop gems that will have you singing along before the record is over.

Hailing from Wilmington, North Carolina, Summer Set originally formed at the start of the third millennium with Weeks joined by musical partner Robert Rogan and a revolving cast of friends — Jeff Reardon (Rodeo Boy), Seth Moody (The NoSeRiDeRs), Jonathan Bass (The Rosebuds), Tripp Cox (Onward, Soldier).  In those early years, various recording sessions and self-produced releases would document the band’s incarnation. But eventually Summer Set would evolve to become a more-or-less two-man operation  in its second decade, foreshadowing what was to come from Weeks and Rogan years later as De La Noche; an Indie RnB project featuring long time friend Ivan Howard from The Rosebuds on vocals. Now, more than twenty years later, this first proper album from Summer Set is a formal testimony chronicling their sheer brilliance.

Roll-along rocker “Favorite Places” demonstrates Weeks’ poetic flair combined with intelligent phrasing, as he sings “We drove up to the coast, it’s cold and you needed a coat / Stopped by my house, picked something out for you”, and “Then we went to the park, tried to get there before dark / Hand on my knee sipping Japanese tea, yeah you.” Opener “Center of Attention”, loaded with infectiously twangy hooks, establishes itself as an instant classic within the first line, while closing track “Coast to Coast” (previously titled “West Coast”) is a melancholic ballad of heartache. “Financial District” poses a gritty tonality with the hypnotic simplicity of indie rock greatness. The record also includes the seductively introspective number “Camouflage” which is as smooth as they come, and “Red Wine” serves up a reflection on the mother of mankind.

After a hiatus, Weeks once declared “We just wanted to focus on recording,” foretelling  the musical path that followed. “What you find as you get older is that playing music - playing music with guys you like, your friends - in and of itself, that's your reward,” his comrade Rogan added regarding Summer Set’s intentions. By their own standard, Summer Set has had a very successful career to date, and like a photo album — this debut record is a gift that allows the band the opportunity to share their story, as well as establishing a foundation for new Summer Set tunes (coming soon) to build upon.

Tuesday, October 31, 2023

Tracy Shedd Red (on Red Vinyl) Limited LP Pressing

[Repost from Teen-Beat; by Mark Robinson, October 25, 2023]

One of our favorite songwriters and singers of all time, Tracy Shedd! Red is her 2004 follow-up album to her smash debut album, Blue. A stunningly beautiful collection of 14 songs fleshed out with a full guitar/bass/drums line up of Cash Carter and Richard Dudley. Tracy plays not only the guitar, but piano and Taro Hanaka guests on violin. Mixed by Trevor Kampmann from hollAnd/Party Milk and produced by Mark Robinson.

On vinyl for the first time every, this 20th anniversary edition will be pressed on transparent red vinyl and will be limited to only 100 copies. Pre-order now and records will ship to you at some point early next year— or whenever they're ready. Whichever comes first.

Monday, October 30, 2023

Summer Set - "Center of Attention"

[Repost from If It's Too Loud; by Ken Sears, October 24, 2023]

Last month we gushed all over "Favorite Places," the latest single from Summer Set. They're back with a new single, and it's going to appeal to a lot of our readers. I compared the previous single to Pavement, The Dandy Warhols, and Wilco, and "Center of Attention" will also fit that sound. However, this new single sounds a bit more like Built to Spill playing around with alt-country. It still has that chilled out sound with country twang with some 90's slacker vibes, and who doesn't want those sounds mixed together, especially when it's done as well as Summer Set are?

You can listen to "Center of Attention" below. Summer Set's self-titled album is due out November 3 on Fort Lowell Records, and is available for pre-order through Bandcamp. For more on Summer Set, check out the band's Bandcamp.

Friday, October 27, 2023

OUT NOW: Jon Rauhouse & Blaine Long "Nothing Lasts Forever" [Digital Single]

The second single from their new album One Day Will Never Come Back is out today on all digital music platforms.  Check out Jon Rauhouse & Blaine Long "Nothing Lasts Forever" now!

Tuesday, October 24, 2023

Common Thread - "Lydia Elle"

Common Thread; photo by Jody McFarland, circa early 1990s

We don't cover a ton of reissues here, but sometimes an artist being reissued is new to us and absolutely thrilling to discover. That's the case with Common Thread. Based out of Jacksonville, FL, their second album, Fountain, was released in 1993 only on cassette, and to celebrate its thirtieth anniversary it's being released on vinyl and streaming services for the first time. Right now we can hear "Lydia Elle" from the reissue, and holy hell... this would have been life changing for me in 1993. "Lydia Elle" is a beast of a song that combines the noise and coolness of indie rockers like Sonic Youth, the sheer power and near metal side of The Jesus Lizard, the wave of shoegaze noise of The Jesus and Mary Chain, and the dark post-punk groove of Joy Division. Hearing Common Thread in 2023 is nearly life changing, so I can't imagine hearing this as a teenager. 

You can listen to "Lydia Elle" below. The reissue of Fountain is due out December 8 on Fort Lowell Records, and is available for pre-order here. For more on Common Thread, check out Fort Lowell Records' website.

Saturday, October 21, 2023

“Lydia Elle” by Common Thread: A Glimmer Through the Looking Glass of Nostalgia

Common Thread; photo by Jody McFarland, circa early 1990s

[Repost from Blood Makes Noise; by Taylor John Salvetti, October 13, 2023]

Who doesn’t want a thrashy, fuzzed-out bass, sixty-two-second intro? I’ll never know. Neither did Common Thread. With their 30th Anniversary release of Fountain, and lead single, “Lydia Elle,” listeners can come to expect this mentality of pre-Y2K angst, raw crunch, desperate pleas for a brighter future.

“Lydia Elle” is youth on display, not only sonically, but an earnestness of adolescence that is yearning to be seen, heard, validated. Thirty years is a long time, and Common Thread has shared stages with some formidable acts like Agent Orange, The Smithereens, and The Veldt, but I’d say this release can hold its own against the new names of the genre.

When asked about the resurfacing of this sound trend and the changed DIY landscape, frontman Joe Parker said, “It’s tempting to think we were on the cutting edge…more of a result of having similar musical exposure…We would regularly perform with 8-10 effects pedals apiece and be the only band I saw doing this.”

Indie labels have been moving forward with more archival work and releasing somewhat forgotten music to a new audience. Regarding Fort Lowell’s re-release of Fountain, Parker said, “In a way, these are modern field recordings. It gives the music another chance to be discovered and audiences get a richer picture of a bygone scene.”

This moment feels like a direct response to the day and age we find ourselves, when things are easily accessible, full albums made with a single microphone and stock DAWs. But Common Thread recorded Fountain and “Lydia Elle” on a cassette tape back in 1993, a time when music production was accessible but still a considerable effort. The nuances are not lost in this re-release thirty years later. The fuzz and near disintegration, the warble, the echo: all of it feels sincere, even until the last few seconds of soaring vocals and phased distortion. This music has come from a  deep moment in these young people’s lives and brought to light so many years later, and it shows that some things might still be timeless.

Friday, October 20, 2023

OUT NOW: Summer Set "Center of Attention" [Digital Single]

The second single from the long awaited self-titled first official release from Wilmington, North Carolina indie rock celebs Summer Set is out now on all music platforms.  Titled "Center of Attention", click the link below to listen now -- and click here to pre-order the album on vinyl record!

Tuesday, October 17, 2023

‘Fountain,’ Beloved Album By Duval Indie Rockers Common Thread Gets 30th Anniversary Reissue

Common Thread performing in Five Points [Jacksonville FL], circa early '90s; photo by Jody McFarland

[Repost from Jacksonville Music Experience; by Daniel A. Brown, October 6, 2023]

Thirty years ago, the Northeast Florida independent music community was many things and, even devoid of nostalgia from any surviving participants, boasted its own kind of low magick.

Like much of America, Jacksonville and the surrounding environs benefited from the 1970s punk rock scene that tore down the walls of popular music. Most crucially, in the 1980s, underground musicians made short work of digging through that very same rubble and musicians forged scenes across the country, brick by brick.

Locally, and specifically from 1985-1995, Northeast Florida had a fairly diverse underground music scene. Hardcore punk, ‘77-style punk, jangly R.E.M.-style rock, death-thrash metal and emerging glimmers of area hip-hop provided a decent and even at-times supportive environment for a diverse scene of local musicians. These artists found support through clubs like Einstein A Go-Go, Metropolis and scads of self-booked gigs at any rental meeting halls willing to allow wild punk rockers into their Elks’ Lodges or wedding-reception spaces.

In 1993, Common Thread self-released their sophomore record: Fountain. The band (vocalist-guitarists Joe Parker and Travis Taylor, Joey Zimmerman on bass, and Craig Parlet on drums) was indicative of the shared elements and principles that seemed to coalesce a Jacksonville-locals mentality: no-nonsense vibes, a tenacity to play any gig that would come their way and a desire to also document their music. The nine songs of Fountain were the sound of the band’s admitted influences like Sonic Youth and Flaming Lips but more in a style of shoegaze not afraid to stomp through the local sand and cryptic marshlands.

In December, Fort Lowell Records is releasing the 30th-anniversary reissue of Fountain as both a download and vinyl version. Fort Lowell provided the Jacksonville Music Experience an exclusive preview of the record’s first single, “Lydia Elle,” which will be officially released on October 13. Listen above.

JME tracked down Common Thread vocalist-guitarist Joe Parker, from his longtime home in Oregon, where he’s enjoying a parallel life as a guitar luthier. Parker gave us the history of Common Thread and his thoughts on the anniversary edition of Fountains.

What year did Common Thread actually begin? 

Common Thread began officially in the fall of 1989. The first show we played was opening for Schrödinger’s Cat at the Metropolis in downtown Jacksonville. We were tuning up with pitch pipes. Halfway through our fifteen-minute set, Henry Wagner of Wag’s Record Hound approached the stage and told us to check our tuning. We were wholly incapable of complying and just plowed on. I remember seeing Arvid Smith play there with a semi-circle of pedals surrounding him. I definitely liked that. Our first drummer was Donald Kilpatrick, who played with us until the summer of 1992, when we played in New York City for the first time. We had a show scheduled at CBGB’s but ran out of cash. We stayed in a parking lot in Hoboken overnight and woke up suffocating and sweating to death in the van. Don and I got in an argument about staying or heading home. We had a couple days to kill before the show. Don was threatening to leave so we split since we couldn’t play without a drummer. I was so pissed. I had actually called Steve Shelley of Sonic Youth to invite him to the show — got his number out of the phone book. So cringy.

The mid-to-late ‘80s-early ‘90s of Northeast Florida were pretty vibrant as far as the actually ability to see live shows by then-underground bands—most famously at Einstein A Go-Go. What were some memorable shows that you saw at EAGG?

Coming up in Jacksonville, there was an assumption that we lived in a cultural backwater: “Surely every city has an Einstein A Go-Go, if not several bigger, better, cooler places.” It turned out that was not the case at all which gives EAGG an added luster. There was nothing like it anywhere but thank god it was where we were. I saw Fetchin’ Bones, Robyn Hitchcock, They Might Be Giants, the Feelies, Flaming Lips, Nirvana, Luna, th’ Faith Healers, Jane Siberry, Soundgarden, Primus, etc. These are just some shows that bubble to the surface.

Could you describe some of your memories and takeaways on that era of Jacksonville’s music scene before the grunge explosion hit?

I was not really a part of the music scene prior to the explosion. It all occurred right as Common Thread came online. That said, I began to know some older musicians (Thommy Berlin, Greg Wright, Ed Cotton, Stevie Stiletto, Arvid Smith) and became aware of the continuum of underground music in Jacksonville. It was good to feel part of that lineage even if we ran counter to most of it. There were bands that were further along, like Beggar Weeds and Rein Sanction, who we admired. We were in a cohort with bands like Crowsdell, Lysergic Garage Party, Fin Fang Foom and Gizzard among many others. In the period after Fountain (mid-‘90s,) we would rent out the Orange Park Lion’s Club and other suburban community centers to hold rock shows. We were amazed at the turnouts. We played at the Milk Bar and the Moto Lounge. When both of those venues were alive, downtown was electric. Club 5 in Riverside (now Sun-Ray Cinema,) was a great stage to play. We got the attention of a producer, Dave Hauser, at that time. He got us recording at the Warehouse Studio where we did an album plus worth of material (circa 1995-96.) It all felt purposeful and possible.

How many shows do you think Common Thread played in total; what are some memorable gigs?

We played hundreds of shows to tens of people. Not really but close. We would play anywhere we could. We had no merch and would go out of town to play a handful of shows in North Carolina. We once drove to Cleveland to play a festival that turned out to be all local bands. They were aghast that we drove that far for this?! We did a string of shows with the Veldt, culminating in a show at the Cat’s Cradle. They had a direct connection to the English bands we loved and it was eye opening to see what they did live. It was the first time we saw a drummer using a trigger to set off backing tracks and it sounded amazing. In the summer of ‘96 we hosted and opened for Sonic Boom of Spacemen 3 for a few shows. He was touring as E.A.R. I think we got the gig from Jason Lewis because we were the only band in town that knew who Spacemen 3 were. Even still, we were not on his level of cool. He did introduce us to spliffs, which we smoked until we got tired of mixing our weed with tobacco. We were in it for the adventure as much as anything else. Our gang mentality was in full effect. We were running strong for a good seven years (thirteen if you count the stragglers,) so I would say we did a couple hundred shows in that time.

How has this experience been of Fountain finding a second life of sorts? Have you considered any sort of reunion shows to promote the rerelease of the album?

When [Fort Lowell Records owner James Tritten] brought up the idea of releasing Fountain on vinyl I was immediately on board. It had been a small regret to have never pressed it even though it had never been a viable option. As an album, I feel it was our most cohesive. The music and art all came together. We were hitting our stride and loving it. If I still lived in Jacksonville, I think Travis and I would be able to pull something together and play some shows for the release, maybe even lure Craig out. As it is, it would be a pretty heavy lift.