Miles Benjamin Anthony Robinson Burning Up My Ears (And More Of The Internets)


For the past few weeks I’ve been operating under a self-imposed 1-album-listen-per-day restriction on Miles Benjamin Anthony Robinson’s self-titled debut; otherwise, I would listen to nothing else. Just now, I was blaring it from my desk at Rind HQ and 3 people stopped to ask me who it was (all during track #1: Buriedfed).

As it turns out, we’re not the only ones listening. Pitchfork reviewed it and Paper Thin Walls is streaming the full album with an interview about each track. For instance, here’s a question about “Buriedfed”:

PTW: How would you like to die?
MBAR: Happy. I’d like to die happy.

I think I like this guy.

MP3: Miles Benjamin Anthony Robinson – Buriedfed

Hungry? How About a Sammies Sandwich?


It’s not quite a snickers bar, and you might have to wait a little longer, but hell, there’s no better sandwich than a Sammies sandwich. Or should we say, The SammiesSandwich, out September 23rd on MoRisen Records? Charlotte-based and full of haste, they’re already hearing from Pitchfork and Prefix!

Sandwich is the ultimate crank-it-up-and-rip-the-knob-off party anthem, with dustings of punktastic indie rock spinkled on top for zest. Having been recorded in Kernersville, NC and produced by Ben Holst (Drive-By Truckers), Billy Bennett (Drive-By Truckers, The Whigs) and The Sammies themselves, it’s got a tight, in your face attitude that will keep you coming back for more. Picture the Strokes if they started “whoo-ing,” clap your hands to the beat, and you’ll be in the right ballpark.

They’ll be touring into November in support of the album. Dates after the jump. Hope you’re hungry folks…

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Dr. Dog Seal Their Fate To Keep Releasing Albums We Love


Dr. Dog
Fate / Park The Van / BUY

The latest from Philly rockers Dr. Dog follows in the footsteps of their incredibly wellreceived 2007 effort, We All Belong, bringing a heartfelt classic rock sound that begs to be listened to on cross-country road trips and warm summer nights. Fate, like the band’s previous efforts, was recorded in their own Philly studio without the help of a producer, yet has such a lush and textured sound that Dr. Dog’s comparisons to The Beach Boys and The Band just keep coming.

The album comes out a week from today on Park The Van and is sure to propel the Dog’s (summer of) love fest even further beyond Fate‘s early buzz on sites like Pitchfork, The Fader and Spin Magazine. The iTunes bonus version features two additional tracks and a brand new never-before-seen video for the song “From.”

Now Yahoo Music has tapped the group for their User’s Choice feature – a competition throwing four up and coming bands into the pit and giving fans the authority to decide which is crowned “Who’s Next” winner of the month. Click here to vote for the band, and while you’re at it tune your DVR to NBC for Thursday’s Conan O’ Brien appearance, just 5 days before the album hits stores!

Download standout track “The Ark” below and see for yourself what all the fuss is about.

MP3: Dr. Dog – The Ark

Zach Hill’s Feelin’ Hella Good


Insanely nasty, metal-infused drums meet inspiration from Miles Davis, Frank Zappa, John Coltrane, and Jimi Hendrix?? WTF, right? Well, in the case of Zach Hill of Hella, that is no fairy tale, nor is it something out of the ordinary in the strange world henceforth known as Astrological Straits. Hill’s debut as a composer/artistic director somehow puts into the rhythmic beats and patterns of a kit what cannot be expressed with actual notes — or, um, words…

The album compiles who’s who of jaw-droppers including Primus’ Les Claypool, visionary guitarist Marnie Stern, Team Sleep/Deftones’ Chino Moreno, and Hill’s Hella bandmates Carson McWhirter and Josh Hill, just to name a FEW. What’s more, you ask? Well! If the avant garde, crazy, offbeat rhythms don’t collapse your skull in confusion, then they’ll certainly impress. The imprint left from Coltrane, Miles, and co. can be seen in the memorable riffs filling the space between those awesome beats Hill plays as well.

For a knee buckling, goosepimple forming, hair raising experience, we’ve conveniently included a sample from the release, which is out on August 12th, titled “Dark Art.” Properly named, might we add.

MP3: Zach Hill – Dark Art

PAS/CAL Goes Pulp


It’s taken six years, a couple trillion EPs and more than a few false starts, but Detroit indie pop provocateurs PAS/CAL are finally releasing their endlessly-anticipated full-length, I Was Raised on Matthew, Mark, Luke & Laura — July 15th at iTunes, everywhere else on July 22nd. Recently the Rind caught up with P/C impresario Casimir Pascal to get the skinny on the new record, soundtracking commercials, and superhero pseudonyms.

What is your creative process, with the band not all being located in the same city?
For IWROMML&L, beyond a couple of the songs in the Cherry suite, I wrote the bulk of the tracks locked up & alone in my lil’ private studio. Songs tend to begin by a string of words that are often tethered to a melody which happen to pop up when I least expect it—sometimes I’ll be in a bakery grabbing Syrian bread or perhaps in the midst of a good shampoo. I’ll try to rush home or leave a voicemail for myself so that I do not lose the lil’ bit of something that came to me. From there it is like an exhaustive trip with a guide that gives few hints to what is coming around the corner. I’ll sit at the piano or with an acoustic guitar and see where the song wants to go. The lyrics, melodies, and chord progressions are written hand-in-hand, each contingent on the other. I think this why my tracks don’t typically follow the verse-chorus-verse-chorus tradition. Furthermore, the songs are composed over a goodly span of time—often months versus hours or days; this process is definitely the culprit in terms of my meandering arrangements. I tried the “template method”, but I am never happy with the results. I spent a bunch of time transcribing the song structures of Bowie, the Beatles, Prince, Broadcast, Gainsbourg, Smiths, et cetera and attempted songs based on their style. What a waste of time! This may sound a bit “wizards & unicorns”, but I believe in personal muses… and the trick is getting yourself to a place in which you are open to hearing what they are trying to tell you. They speak rather softly, y’know…

You wrote all these short EPs – was filling up a full length an issue at all? Or were you just as comfortable?
Song collections (EPs & LPs) are fine, but I only write one track at a time. In some way I am happy that the the Album of the late 60s to late 90s is a dead way to package an artist. I love the idea of writing, recording, producing a song and immediately giving it to the world, only to jump back in the studio to give them another. The concept that one needs to wait until he has a dozen or so songs before he debuts his music is as old & tired as most music journo’s In Utero tees.

What’s the deal with Suite Cherry? It’s our favorite part of the record. Where did the theme come from?
Munch said that when he painted he never thought of selling. I agree with that sentiment wholeheartedly, but times have been hard in Motown since we can’t seem to figure out how to sell (or make) cars like we used to. We’re all finding ourselves disheveling sofas looking for loose change nowadays. Thus when a certain innertube-shaped candy company called saying they needed a theme song for the launch of their new cherry flavored product we all scattered to three separate recording camps with the hopes of tripling our chances at earning some lifesaving green. Of course none of the tracks were used nor were any of them probably appropriate for the spot, but they all did have the word ‘cherry’ somewhere on their lyric sheet and more importantly I thought each were exceedingly great. A suite is born: Gene and his wife head up the first movement, Trevor Naud’s brooding baritone carries the insatiable second part, and I hold up the rear with a synthetically orchestrated ode to aging with the one you love.

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