Bringin' it Backwards Adam & Tera Lisicky

We had the pleasure of interviewing The Crystal Casino Band Zoom video!

The Crystal Casino Band is a rising DC-based indie rock quartet, who have quietly amassed over 10 million streams on Spotify, and recently released their new album, Maryland House.

Maryland House, The Crystal Casino Band’s most complex and varietal album to date, is a winding journey with unexpected turns that showcases their love for the DMV (DC/Maryland/Virginia) area and pays homage to their lives as young adults. The new album, produced by Kyle Downes and Jay Nemeyer (Color Palatte), showcases the artistic growth TCCB has undergone since the release of their 2021 album, Not About You, and is unlike anything the four-piece has done before. Maryland House, named for the band’s favorite rest stop along I-95, is the first TCCB record featuring each member on lead vocals as well as a variety of instruments including trumpet, ukulele, mandolin, and harmonica. Kicking off with “Curfew,” Maryland House opens with the perspective of someone in the DC area detailing the events at The Capitol on January 6, 2021. From there, “Twenty-something Socialist,” a mainstay in the band’s live shows, raises the energy as vocalist/guitarist Pete Stevens sings about the jaded young progressives of America trying to make it in the world while billionaires use their wealth for expensive vanity projects. The grit of “Socialist” continues on “Jamie" discussing the actions of a flaky friend who never follows through on what they say they’re going to do. On latest single “City That Sleeps,” guitarist Jarrod Hendricks sings about the transient nature of the people who call Washington, DC their home and its effect on their relationships with those they are close with romantically. Elsewhere on Maryland House, bassist Jordan Mullaney decries the injustices of the two Johnson administrations (both Andrew and Lyndon) and inwardly questions how much has changed with our nation’s discontents on “Half Staff,” while drummer Joey Mamlin channels his inner Ringo Starr for the album’s final track, “Getting Closer,” and reminds the listener to never be too hard on themselves and not forget their inner child.

Formed in 2015 as a group of friends at the George Washington University, The Crystal Casino Band, originally named The Colonies, began their sonic journey heavily influenced by the likes of The Strokes and The Black Keys. Over the course of their college years and a few lineup changes, the band’s sound transformed to combine their initial influences with the vibes of early 2010s-era indie that littered Tumblr dashboards and increasingly introspective and socially-conscious lyrics. With this turn to introspection and social awareness, the independent quartet – Pete Stevens (guitar, vocals), Joey Mamlin (drums), Jarrod Hendricks (guitar), Jordan Mullaney (bass) – grew uncomfortable with their original name’s imperialist connotations and changed it to their current one in 2020. Since the release of their 2021 album, Not About You, TCCB continues to evolve as artistically showcased on their new album, Maryland House.

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We had the pleasure of interviewing Faith Marie Zoom video!

Singer-Songwriter Faith Marie, has released her single “Alleyways,” today. Released in collaboration with the label UUin, “Alleyways” is the second single off her upcoming 3 song debut EP, More than I am. Written by Faith, “Alleyways” is about a pivotal point in one's transition into adulthood. She elaborates “I realized in order to grow, I had to let go of other people's ideas of me and explore the parts of myself I was afraid to address and take responsibility for my trauma and healing.” The moody, yet ethereal track serves as the perfect introduction to her attentive songwriting and delicate vocals. The synth and guitar heavy sounds, paired with ominous echoes of different musical elements and vocals, is meant to represent the drive needed to walk into the unknown while still facing the unease of what you’ll find in the process.

Hailing from Provo, Utah, Faith’s foray into songwriting began at the age of 13, launching a successful YouTube channel that attracted over 121,000 subscribers over the next five years, in addition to over 80 million Spotify and Youtube streams combined. Inspired by the likes of My Chemical Romance, Paramore, and Brockhampton, Faith pushes herself creatively when it comes to genre-bending. In 2015, her love for artists that seamlessly cross genres led her to posting a cover of Bring Me The Horizon's “Drown,” which immediately went viral and is currently sitting at 5M views. “Bring Me The Horizon has always been the most inspiring to me because they don’t care about upholding a genre or appeasing specific types of fans that listen to them, they do what inspires them” Faith states.

The virality of this cover catapulted her into the release of her debut single “Antidote,” which Faith wrote and self-produced. Now, 7 years later, Faith has released multiple singles ranging from the orchestrally adorned “Little Girl” and the electronic-laced “Devil on My Shoulder,” each dealing with themes of struggle, anxiety and hope. Faith is constantly working to perfect her craft of songwriting with each release, and is also currently pursuing a bachelors in audio engineering. She elaborates “I’m on a lifelong mission to master as much of the music creation process as possible.”

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We had the pleasure of interviewing RIZ LA VIE Zoom video!

Los Angeles-based alt-pop musician RIZ LA VIE shares his highly anticipated debut album Haven out everywhere now including a limited run on vinyl. Alongside the release, LA VIE shares the album's title track with an accompanying video.

The album's title track explores loss, but even in the deepest depths of sadness, it sees LA VIE determined to find the silver lining. The track swiftly embodies the thesis of the album as its themes speak to the album as a. whole.

Its accompanying video, directed by Quinton Dominguez, opens with LA VIE seated in a movie theater, ready to watch a movie of his newfound life in Los Angeles. The film and the track's lyrics follow LA VIE's emotional effort to hold onto optimism, freedom and safety.

With Haven, his debut studio album out today, RIZ LA VIE expands on the vibrant sonic world he's built with previous releases, but this time, shares more of himself with his fans. Experimenting with new production elements and blending genres, LA VIE pushes boundaries like never before, culminating in his most realized, ambitious work to date. Over 15 tracks, LA VIE embarks on a search for a sense of safety and security, both internally and externally–within himself, in his relationships, community, environment, and in the world at large.

In perpetual pursuit of hope and optimism, the project chronicles LA VIE's courage in the face of adversity as he ultimately discovers his own strength and confidence.

Collaborators on the album include Vic Wainstein (Tyler the Creator, Mac Miller), Daniel Hartzog (Tom the Mailman, ericdoa), Lucy Blomkamp (6LACK, Mallrat) and Johan Lenox (BROCKHAMPTON, Metro Boomin, Shawn Mendes). It was mixed by KES (Ed Sheeran, Jacob Banks) and mastered by Mike Bozzi (Kendrick Lamar, Steve Lacy).

The previously shared single "FYP," offers LA VIE the space to express the discomfort and fear that accompany a cross-country move, and the aftermath of leaving home to land in a new environment, surrounded by new people while the place he once called home remains.

LA VIE's 2018 hit "Napkins," has become a fan favorite, with over 38M+ streams on Spotify to date, and like the artist himself, shows no signs of slowing down. In addition to a 30-date tour in 2021, LA VIE performed at festivals like Governor's Ball and Lollapalooza. The artist has consistently turned heads of several leading tastemakers in recent years, including Billboard, Pigeons & Planes, Ones to Watch, and more.

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We had the pleasure of interviewing Natalia Damini Zoom video!

Inspired by both modern pop icons and timeless vocalists, Natalia blends intoxicating melody with supersonic energy and charisma. “Attitude was written about seeing someone you like, but not having the courage to take the first step.” Full of windswept backup vocals, slick guitar riffs, and a fetching beat, “Attitude” is as bashful in sonics as the subject matter itself.

"The world needs to know about Natalia Damini" - Tito Jackson

The music video profiles Natalia as she performs amidst a backdrop of shimmering disco balls and chandeliers in sequined jacket. Tito Jackson emerges for his verse in a sports car with effortless, velvety vocals over the scenery of a futuristic, neon-lit hallway. Natalia serenades, “Attitude - baby that’s all you need. If you want it, you got it!” The single is a jubilant, vivacious pop anthem that calls upon Tito Jackson’s rich history through a whole new lens.

Natalia Damini was titled the Best Female R&B/ Pop Artist at the Underground Music Awards. Since then, her platform has expanded to upwards of 15 million views on YouTube and 1.2 million followers on Instagram. Her infectious pop single “Crazy” charted at #1 on the Billboard Emerging Artists Chart and she has had #28 Billboard Top 40 and #15 Billboard Next Big Sound entries. She has received acclaim from LA Weekly, Idolator, and All Access to name a few.

Singing sensation and electrifying performer Natalia Damini is releasing a new song titled “Attitude” featuring the one and only Tito Jackson from the legendary group The Jacksons. This single follows her last release entitled “Pacemaker,” which peaked at #45 on the Mediabase Top 50 Pop chart and has over 1 million streams on Spotify.

Equally important, her song “Crazy” hit #1 on the Billboard Emerging Artist Chart. Natalia has over 1.2 million followers on Instagram.

Cutting Edge is the adjective that describes the stunning songstress Natalia Damini. She adds class, intellect, and style to her genre. She crafts songs that capture the essence of the human spirit. She spins stories of love, lessons learned, conflict and resolution. Ms. Damini approaches every note with fearless class. Her voice is pure and authentic. Her energetic drive and outgoing personality enabled her to showcase her amazing stage presence at many different venues around the world. In October 2015 Natalia won Best Female R&B/Pop Artist at the prestigious Underground Music Awards.

Natalia Damini’s style is a unique blend of modern R&B, Pop, and Dance music that ranks her alongside contemporary stars like Ariana Grande, Doja Cat, Shakira, and Rihanna.

Natalia’s new single features Tito Jackson of the Jacksons (yes, brother of Michael and Janet). The Jackson Clan is the most famous musical family in the world.

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We had the pleasure of interviewing Can’t Swim Zoom video!

One of New Jersey’s prodigal sons once mused “who says you can’t go home?” – but CAN’T SWIM have never really left their Garden State surroundings.

Sure, they’ve certainly logged tens of thousands of miles over the past seven years, bringing their cathartic blend of rock, punk, and emo to audiences around the world on bills with A Day To Remember and Senses Fail and at festivals like 2000trees. But at their core, Can’t Swim are innately Jersey through and through: from the ghosts of Tri-State hardcore giants that oscillate through their high-octane sound to the very garages and studios where those songs take shape.

Now, the band plant their Garden State flag even deeper on their fourth LP, Thanks But No Thanks, an album that quite literally finds them going back to their roots.

After wrapping another slate of hard touring for 2021’s Change Of Plans, the group – vocalist Chris LoPorto, bassist Greg McDevitt, guitarist Danny Rico and drummer (and honorary Jersian) Blake Gamel – decamped to the Shore, insulating themselves in the comforts of home while working to hone in on the most elemental components of the Can’t Swim sound.

Joy has rarely been a word associated with Can’t Swim – awash in tempestuous lyricism and muscular energy since breaking into the underground with 2016’s Death Deserves A Name EP – but there’s a self-referential wryness to LoPorto’s lyrics on Thanks But No Thanks that winks its way through the album’s 10 songs, along with a finely tuned melodic edge that balances out the band’s more brooding nature.

With guitarist Rico overseeing production, mixing, and mastering (a position he held on 2017’s debut LP Fail You Again and 2018’s This Too Won’t Pass), first single “me vs. me vs. all y’all” is Can’t Swim’s most fully realized pop song to date, name-checking The Cure, The Lemonheads and Eddie Vedder, while the album-opening “Nowhere, Ohio” offers a playful tribute to the Alkaline Trio classic “Radio” in between stabs of downtuned guitars.

But don’t conflate fun with frivolity. The same emotional heft that’s made Can’t Swim a cult favorite in the scene – and earned them musical co-signs from the likes of Taking Back Sunday’s Adam Lazzara and Beartooth’s Caleb Shomo – is front and center on Thanks But No Thanks, from the sorrowful summer 2022 single “I heard they found you face down inside your living room,” mourning the death a close friend, to the classic punk rallying cry “ELIMINATE,” which tackles the gun violence epidemic with a strength-in-numbers call to arms.

In this way, the evolution of Can’t Swim as a band is really evident: What once were presented as insurmountable obstacles on previous albums are now framed as hard-but-necessary lessons that need confronting in to move forward and grow, calling upon new levels of resolve and strength to dull down life’s demons. Through it all, the band have been able to truly block out the noise and let their conscience resonate loudest of all.

Four records in, it feels like Can’t Swim are just now hitting their stride. They’ve stretched their wings over nearly a decade, dabbling in everything from frantic hardcore (2019’s Foreign Language EP) to ethereal indie (2020’s Someone Who Isn’t Me EP), yet have once again found their way back to their musical home.

The next few years will take them far away from their own beds as these songs reach audiences around the world – but that’s a sacrifice the band is willing to make because of how much these connections truly mean.

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We had the pleasure of interviewing Lucero Zoom video!

The search for one’s identity is a lifelong process that every individual must go through. Who someone is today, is not the person they were yesterday nor who they may be tomorrow. Despite those changes, there is a general idea of a defined sense of self. No matter what happens, it is that small yet solid and grounding definition of self that continues to drive us forward in our search for identity and whatever may come with it.

It would be difficult to find any artist who understands that better than the band Lucero.

Since forming in Memphis in the late 90’s, Lucero’s base musical hallmarks have remained similar to the band’s initial sound established with their first record The Attic Tapes. In the history of their expansive discography, Lucero has evolved and embraced everything from southern rock to Stax-inspired Memphis soul, whilst simultaneously maintaining their distinctive sonic foundations. Over 20 years later, dedicated fans of the group still flock to hear the band’s punchy driving rhythms, punk-rooted guitar licks, and lyrics that evoke the whiskey drenched sentimentality of Americana singer-songwriters. As expected of any band built to survive, Lucero has welcomed change over the course of their career, but it has always been on their terms.

The band’s twelfth album, Should’ve Learned by Now, began its life as hardly more than some rough demos and lingering guitar parts. These pieces that were left behind from the band’s previous albums, Among the Ghosts (2018) and When You Found Me (2021) were deemed too uptempo and capering for the prior records’ darker themes.

The band, comprised of all its original members (which in addition to Ben Nichols, includes Brian Venable on guitar, Roy Berry on drums, John C. Stubblefield on bass, and Rick Steff on keys) teamed up for a third time with producer and Grammy Award-winning engineer and mixer, Matt Ross-Spang. Lucero began the recording process in Sam Phillips Recording Service before transitioning and finishing the record in Ross-Spang’s newly opened Southern Grooves Productions in Memphis, TN. Ross-Spang appears to have settled in with the band’s more trademark sound whilst very much making his touch known to listeners.

From its original Ben Nichols-designed cover art to its credits, the album is a reflection of a band that knows itself. Should’ve Learned by Now bridges the gap musically between “old Lucero” and “new Lucero” in a manner which affixes the band’s position as the perfect intersection of punk initiative with hard-earned artistry. It’s an album that recognizes the past in its sound and content, but leaves the door wide open to the future and for the lessons still in store.

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