New album and tour from TOPE

free lemonade 2 - coverHip hop artist TOPE may have changed cities, but his move down to Oakland, CA from Portland, OR hasn’t slowed down his productivity. He just released the second installment of his instrumental beat tape series, Free Lemonade 2. The new beat tape takes a trip through some classic 80s and 90s samples, with samples from Gucci Mane to Janet Jackson to Guy and more. In all there are 20 tracks.

Along with the new release, TOPE is also set to headline his largest tour to date, starting in San Jose and ending with a performance in Atlanta for A3C Festival.

Be sure to check the tour dates below while you sit back, pour up the lemonade, and give TOPE’s latest project a spin.

tope - fall 2015 tour

New jam from (IAM)WARFACE

So this comes from a new electro rock band from Brighton in the UK. It is bombastic, high-energy and dark music featuring heavy synth riffs and pounding drums.

They released their first album this summer and have already gigged around the UK and Scotland.

We look forward to hearing more from this group!

Film and Television Music Guide 2015-2016

film tv music guide

The brand new and updated 2015-2016 edition of the Film & Television Music Guide has just been released. Order your copy now!

The Film & Television Music Guide is the only resource you need to get your music to every Music Supervisor, Film Studio and Television Network Music Department, Trailer House, Video Game Company, Music Library, Music Placement Company and Music Editor in the business. This new issue has 428 pages of the contacts you need to put your music to work!

Having the new edition means you will always have the most current and complete contact information in today’s rapidly-changing music business.

Stay current. Stay relevant. Get licensed.

Order your copy now online at
or by calling 800-552-7411 / 818-781-1974

For the online version go to

Review: Bumbershoot 2015


by Scott Sammons

Every Labor Day weekend, despite the rising cost, I try to go to at least one day per festival. Bumbershoot is among the largest and oldest music and arts festivals. It is usually hard to pick the “best” day to go with many good acts spread across the three to four days. Music, art, movies (from the Seattle International Film Festival), comedy and writing are among the array of humanities choices represented.

I can’t talk about Bumbershoots of the present without talking about Bumbershoots of my past, or at least comparing them. I’ll spare you all the drippy, nostalgic details, but they hold some of my best and worst memories. Bumbershoot is important to me; it’s been a healer, a mirror, an illuminator; the place where I’ve tested different versions of myself. I feel close to it, like an old friend I visit once a year.

Upon entering, the excitement and expectation overtook me, and I was met with the usual scene: The fountain, a permanent fixture at the Center; this year, large blow-up letters spelling BUMBERSHOOT; tents with wares like hats and bongs and paintings; stages with pre-music playing; and above it all, the Space Needle.

And the people. There were more people there than it felt like, but that only highlighted the lack of energy I felt. Perhaps it was the Sunday hangover from Saturday, but I was a little concerned. One thing I look forward to is seeing the cadre of teenagers in attendance. They dust up everywhere like clusters of cyclones, the limit-pushers and trendsetters, the loud mouthed de-criers of the future, the fuck-yeah-I’m-dope-smoking-so-what-it’s-legal boys jumping and bounding around the fountain, the my-short-jean-shorts-are-shorter-than-your-short-jean-shorts girls giggling and pushing when they see their friends 100 yards away. And they all extend their arms for the selfie: if there is no selfie, you were not there. It reminds me Bumbershoot is for everyone. And I get excited for them as they are creating their first memories with the festival. But their energy and innocence always makes me smile.

I spent most of the day at The Mural Amphitheatre, one of four outdoor stages this year. It was where my 2015 festival experience effectively began and ended. I first saw Nathaniel Rateliff and the Night Sweats. I didn’t know much about them, and I got two songs at the end of their set. They had a fun, Van Morrison vibe with a punchy brass section. The first song I caught was very catchy, whose chorus was “Son-of-a-bitch! Get me a drink…” Yessir.

Bread and Butter played at the next stage over. They had a punky, stripped down sound which reminded me of the Strokes and early Beach Boys. It had a good beat to it. There was a small group of folks letting loose up front who might have even seen Brian Wilson live . When they ended, and as I was walking away, I overheard a girl say to the guy next to her, “yeah, they’re really cool. I’m friends with Shane on Facebook.” Wanting to be close to fame, even semi-fame is nothing new, and the statement was quintessential for our time. She might as well have said she met him at the beach party last weekend.

A few other highlights from the day:
• Flatstock, a grouping of mostly letterpress artists who make rock art posters, was in the Center House. This has been a part of Bumbershoot (and other festivals) since the early 2000’s. Check out more at
• I don’t know their music all that well, so it was nice to hear Hey Marseille’s version of Never Tear Us Apart by INXS, with its catchy melody punched out by a cello.
• Comedian Hari Kandabolu (, played the Intiman Playhouse. He is one of the wittiest comedians today. His politically charged bits are both uncomfortable and poignant.

Which brings us to Built to Spill, ending my evening at the Mural. I got a Hilliard’s Brewery “12th Can” pale ale and a good spot near the front of the beer garden boundary. They were just finishing sound check as I was getting situated.

I have followed BtS since first hearing them at a friend’s house in college, in 1997. When the first song from Perfect from Now On hit my ears, I wasn’t sure what was happening. I didn’t know music could sound like this. Even though that is clichéd, it is often difficult to explain something that hits you viscerally. The notes, the chords, the words, the melodies, the production–it swirls together and clicks, like gears in a machine or water down a river. This happened in their music, but also in the listener.

They played one of the best shows I’ve heard in a long time. With a new album out (Untethered Moon), there were a couple songs I didn’t recognize. But only a couple. It was a great mix of songs from most of their albums: New Wave Alternative, Nothing Wrong With Love, Perfect From Now On, Keep It Like A Secret, and others.

I noted meaningful lyrics of songs that hit me as the show played, and which I wanted to write about later. I realized they would have the same meaning here, but in general, Doug Martsch’s lyrics are the kind that make you feel like it is, or it’s going to be ok, in the sense that you’re not alone: “we all feel that way, we just may not admit it to each other.” Lyrics like, “In the morning, feeling half right…” and “When I get that feeling like I’m gonna start I just have to stop!” and “And I’d like to see it but it’s something you just feel / And I’d like to feel it but it just isn’t real.”

When Mr. Martsch signaled the last song, saying thanks to the crowd, I was already satisfied. Then, the opening notes to “Randy Described Eternity” hit my ears, much like they did at my friend’s house in college. It ends where it begins, I thought, although, nothing was ending necessarily, except the great evening with a great band playing great music. And even Mr. Martsch fibbed a little, too. As one note ended, another began into a new song. The closing set was about five songs. When they really finished, the crowd erupted, more than satisfied.

I stood contemplatively aside as others filed out of the grassy amphitheater, not prepared to let the bliss start to fade just yet. After several minutes, I approached the stage, said a sincere thank you to long-time guitarist Brett Netson, and Mr. Martch for a great show, then turned and walked away myself. I looked back thinking about how awesome that show was, how, even after so many shows, they can make their songs new, play a little bit deeper into them, and cull out even more raw emotion. Even now, I don’t want it to end.


New music from Susy Sun!

Susy Sun’s triumphant new single, “Any Other Way”, combines her angelic voice & uplifting lyrics with an amazingly produced pop track.

What genre is this?

Angel pop?

It’s like the music you’d hear playing in the heavens. Uplifting, encouraging, beautiful on the ears.

It’s just gorgeous.

Great job, Susy!

(you might enjoying learning more about Susy from our artist spotlight, the episode of Practice Space we shot with her, either number one or two of our Nick’s Picks, and in one of our earlier mix tapes).

Feedbands Farm

This hit our radar today and we think you’d dig it. Feedbands is announcing the launch of the Feedbands Farm, a 4-acre farm in Asheville, North Carolina founded literally to feed bands.

This is an open invitation to bands of the world: come stay at the Feedbands Farm, play a show, and get fed. 

Independent touring bands have it tough. Aside from booking shows and gassing up the van and maintaining their energy for shows, they need to find a place to sleep and food to eat, and it all cuts into the tour budget which, for most bands, is slim. Feedbands hopes to play its own small role helping touring artists passing through Asheville with todays announcement: the launch of a farm where bands can sleep and eat free of charge and even play a show if they want.


All food grown on the Feedbands Farm is grown from organic seed. No synthetic pesticides or fertilizers are used. We are dedicated to growing the cleanest, most nutritious, most delicious food humanly possible. In our first year experimenting as farmers we have successfully grown tomatoes, broccoli, kale, chard, amaranth, corn, zucchini, butternut squash, acorn squash, blueberries, hardy kiwis, strawberries, okra, beets, carrots, radishes, and more and now we’re ready to open it up to bands.

We have lots of animal friends on the farm too, including pigs that help work the earth an ready it for planting, chickens and ducks that roam freely and lay eggs, and three goats for milking. None of the animals are for eating and they are all featured in the music video below.


  • solar power stage for outdoor performances
  • solar power charger for laptops, cell phones, and electronics
  • rainwater catchment for garden irrigation
  • over a thousand feet of vegetable beds grown from organic seed without the use of any chemicals
  • soldier fly hatching for feeding chickens sustainably

For more information, visit

If you or a band you know would like to stay, play and eat at the Feedbands Farm, contact

Discover: Max Gomez

A young singer-songwriter in the seasoned vein of Jackson Browne and John Prine, Gomez grew up splitting his time between the sloping mountains of Taos and, for a period, the rolling plains of Kansas. On his family’s ranch in Kansas, Gomez still lends a hand with chores but relishes the time he can spend out on the lake practicing the art of fly-fishing. But it is in Taos, where he was ultimately inspired to explore his art and the ethos behind it.

The workmanlike quality of his songwriting carries over from his days spent in the woodshed through an economy of words, phrase and narrative. A blues enthusiast from an early age, the young Gomez immersed himself in the primordial Delta and traditional folk blues of Lead Belly, Big Bill Broonzy and, of course, Robert Johnson. Though 1,200 miles and decades removed from his Mississippi heroes, Gomez had his imagination to fill in the gaps. Having honed his chops on the blues, Max turned his interest to traditional American folk music; “I’m influenced by the old stuff,” Max admits. “To me, that’s the best music.”

Festival Review: Fuck Yeah Fest

fyf fest 2015 poster - medium


A few weeks ago I made it back to FYF for the second time. I had sworn never to go again after the trainwreck of last year but I was lured back with the promise of Morrissey and my ability to forget painful experiences. I was in for a pleasant surprise. Minus certain aspects that could not be controlled – the temperature, youths, over-priced food, and the realization that apparently EVERYONE smokes again – the good people at FYF definitely went out of their way to ensure that all issues from last year were addressed. The entrance lines were bearable, they put in a shortcut from the Tree stage to the Main stage, and they added two more giant blow-up emojis. Everyone wins!

I walked in just in time to grab a beer and catch Melody’s Echo Chamber, which set the tone for the weekend perfectly. Their set of chill, summery, dream pop could only be balanced out by Run the Jewels in all their gangster hip hop glory. With surprise guests like Zack de la Rocha and Travis Barker joining the duo, this set stands out as one of my favorites of the weekend, right next to Shlohmo.

Dark, avant-garde electro genius Shlohmo put on my favorite set of the weekend and reminded me a lot of the year before when Darkside stole my heart. Savages took the stage right after and switched the mood with some badass girl post-punk, and Kanye West made everyone forget about Frank Ocean by putting on an amazing performance. I think we were all surprised by Rihanna joining the stage for two songs and for his lack of rants/presidential race announcements.

I caught the first few songs of The Jesus and Mary Chain, got my nostalgic fill, and made it to the end of Purity Ring’s set. Their recent album “another eternity” is one of my favorites of the year so far, and they played everything I wanted to hear. Singer Megan James’ delicate voice against the chamber-like electro pop beats was the best ending to the night I could hope for.

I showed up in time for Unknown Mortal Orchestra, who put on a super fun set of indie funk rock, and caught a couple Laura Marling folk tunes on my way to The Woods, which is just a big dance space where DJ Harvey was doing a 3 hour set. I got my groove on, was propositioned by an older woman and asked if I was a cop (I’m not), and made my way over to The Trees to catch Battles, experimental math rock-y goodness.

By the time Australian electro musician Flume was due to start I was ready for a beer and a sit, so I made my way to the Main Stage, which is blissfully near a beer garden, and plopped my happy ass down for his entire set, because I’m an adult.

For some reason after that I thought I might be cool enough to check out industrial hip hop group Death Grips. I am not. Look, they scared the crap out of me and I may have peed a little. Naturally I ran back to the Main Stage for the rest of indie pop group Belle and Sebastian’s set and waited there for my dear Morrissey.

I’ve only seen Morrissey once before but The Smiths are one of my formative youth bands and Morrissey has a special place in my heart. He did force us all to eat vegetarian options on Sunday but its okay, I like cheese pizza. The Moz was everything I wanted him to be, he played an equal handful of hits and newer songs and gave all of us super fans our fix. There was a lot of geeking out and loud singing on my part.

My last set of the weekend was FKA twigs. By this time of Sunday night my feet hurt, I’m exhausted, and I only have so long to catch the last train back to Culver, so I didn’t stay for her entire set but what I did catch, I thoroughly enjoyed. A sensual blend of R&B and electronic, FKA twigs put her dance background to good use without missing a single high note and should be giving Janet Jackson a sleepless night or two.

All in all I say cheers to you, Fuck Yeah Fest, and I do believe I’ll be seeing you again next year.