When Haroula Rose left for Spain on a Fulbright scholarship in 2005, the last place the singer/songwriter thought she would return was Los Angeles. But Someday, her debut EP, brings the multi-instrumentalist full circle with “five dreamy melodies” taking listeners on “a gentle and enjoyable acoustic trip into poetic lyricism and soft guitar playing.”(- noizemakesenemies, UK blog) Someday is currently available on iTunes.

With “introspective vocals that breathe life into highly personal lyrics” (- snobsmusic Blog), Someday aptly capture the intimacy and influence of her journey abroad.

Haroula explains, “I think music is the pinnacle of human expression – its woes, its joys; its complexity and its simplicity, all at once.”

The disc opens with the title track which is akin to a modern-day version of “Somewhere Over the Rainbow,” with a strong feeling of longing to be somewhere or someone else and the hope for what is to come: “Somewhere seems so nice and new/Someday dreams they can come true/I’ll find a way to someday soon…”

Following is the aptly titled, “Love Will Follow” – a melancholy ballad with lilting vocals and resonator guitar; “If I Could Pray,” with hand claps and a meditative tone; the tender and vulnerable “The Leaving Song”, and finally “Lay me Down,” a modern lullaby with changes in time and the strings that give it an ethereal quality against her angelic vocals.

“[Someday] fuses delicate vocals, a beautiful piano and a gentle guitar echoing in the background.” – ForFolksSake

“I have a feeling that “Someday” Haroula Rose will be big.” – noizemakesenemies blog

“Nurturing an organic, windswept sound borne of folk and alt. country influences, Rose – whose soft, unaffected voice recalls Alison Krauss and perhaps Mindy Smith – is generously supported by delicate melodies and arrangements.” – BlogCritics.org

A native of Chicago, Haroula spent two years abroad based in Madrid on a Fulbright grant. Amidst her travels throughout Europe (most notably Scandinavia and the Balkans), The Middle East and North Africa, she was inspired by the music and cultures.

She has become fluent in Spanish and is a collector of rare instruments as well those that remind her of the places she has visited, including a hand-crafted nylon string guitar from the flamenco district of Madrid.

This fall, Haroula will record her full length debut in Athens, Georgia with Andy Lemaster.

Derek Webb Releases Tour Dates Today

Stockholm Syndrome finds Webb once again facing debate head on. The album is the most provocative and stirring release of his storied career and Webb partners the much-anticipated release with a 20-date tour and a DVD documentary of the project.

Stockholm Syndrome delivers everything listeners have come to expect from Derek Webb: killer pop hooks and lyrics as thought provoking as they are emotionally revealing. Sonically, however, this record is a radical departure for Webb, who has left his acoustic, folk/rock roots behind for a sound he describes as “intentionally inorganic.” Webb co-produced Stockholm Syndrome with former Caedmon’s Call bandmate Josh Moore (Bun-B, Slim Thug), a producer who in recent years has lent his ear to hip-hop recording projects.

Together, Webb and Moore have succeeded in creating a dense, richly absorbing sonic vernacular that pays homage to an entire century of music. From 1920s jazz to 1950s doo-wop, from disco and dance music to old-school R&B, Webb uses this album as a means of exploring deep issues through the central metaphor of Stockholm Syndrome, illuminating the ways in which a society can fall in love with an oppressive culture and become enslaved by it. That sound is palpable in every track from the strut of “Black Eye” and “Cobra Con” to the electropop of “Jena & Jimmy.”

Webb has also made a name for himself in the technological world for his unique fan engagement techniques. Nearly 5,000 people regularly followed details of Webb’s release of Stockholm Syndrome and Webb was among the top 70 Google searches (Internet wide) the first day information was released through his website.

Webb employed Twitter followers in more than 20 cities with an online scavenger hunt that climaxed in a Nashville preview event. More than 1,500 people per day participated in the search for “artifacts,” USB drives that contained new music. Webb will revisit the scavenger hunt markets as part of his “Black Eye” Tour which kicks off in Louisville on September 17th.

When Mockingbird, Webb’s critically acclaimed 2006 album, was released he convinced INO Records/Columbia Records to give away more than 80,000 free album downloads. This widely publicized promotion more than doubled Webb’s concert audiences and eventually paved the way for Webb to launch a revolutionary new online music distribution system, NoiseTrade. The Mockingbird experiment and subsequent launch of NoiseTrade led to a case study assessment in WIRED Editor-in-Chief Chris Anderson’s upcoming book Free: The Future of a Radical Price.

Derek Webb has truly proven himself to be an innovator in the evolving music landscape. His extraordinary marketing capabilities and consistently thought-provoking lyrics are exactly why his fan base continues to expand. On Stockholm Syndrome, Webb showcases a new sound, yet the complex contemporary lyrics and point of view will be familiar to longtime Derek Webb fans.


Tour dates:

09/30/2009 – Winston-Salem, NC – Confluence Underground
10/01/2009 – Asheville, NC – The Grey Eagle
10/02/2009 – Knoxville, TN – The Square Room
10/03/2009 – Nashville, TN – The Rutledge
10/04/2009 – Lexington, KY – The Dame
10/15/2009 – St. Petersburg, FL – The State Theatre
10/16/2009 – Orlando, FL – The Plaza Theatre
10/17/2009 – Jacksonville, FL – Murray Hill Theatre
10/23/2009 – Waco, TX – The Backyard @ Common Grounds
10/24/2009 – Houston, TX – House of Blues Bronze Peacock
10/25/2009 – Dallas, TX – Live@MOKAH
10/27/2009 – St. Louis, MO – Blueberry Hill
10/28/2009 – Kansas City, MO – The Record Bar
10/29/2009 – Chicago, IL – Back Porch State at House of Blues
10/30/2009 – Grand Rapids, MI – Wealthy Theatre
11/01/2009 – Akron, OH – Musica

Escape Grace – II (CD)

Escape Grace plays a brand of hardcore that is tremendously influencd by the radio rock of the early nineties. This means that songs like “Spartacus” have a tremendous amount of Layne Staley-like vocals that work well with the fury that the rest of the band puts into this composition. The buitars and drums are not the only force present during this track, as the bass has a lot to say during “Spartacus”. Escape Grace does not fall into the same category of bands that follow the trends that are popular in mainstream music, and for this the band should be rewarded. The band falls aa little bit into a rut by the time that “Gormandizer” starts, as the song does not contribute much of anything to individual expectations of Escape Grace.

Sure, there is a distinct sound that is locked into by this track, but much of what made “Spartacus” so special is transferred over to “Gormandizer”. The screamed out vocals on “Gormandizer” are removed from any influence, so that there are equal amounts of anger that are pushed on both sides of the band. Even as the band coalesces its sound, it unnecessarily limits itself to a smaller set of possible sounds. The band only starts to bring itself out of the rut that it has created for itself by the end of “Siren City”. During “Siren City”, a distinct eighties metal sound becomes obvious as the major influence for the guitars. The breakdown and hardcore vocals present during the track keep the band firmly planted in the style that they started out “II” with, but this infusion of new blood is precisely what the band needs to keep individuals listening in for the rest of the EP.

The disc is less than sixteen minutes long, but the fact that three of the songs on “II” are extremely closely grouped to each other should raise a red flag that the band may not be able to pull a full album. The band has talent and there are just not enough songs on this disc to tell whether the band has that ability to finish up properly, but this EP makes me think that there might be some problems. Here’s to hoping that the band can come up with a good expansion of their sound for “III” and beyond; I know there is a tremendous amount of talent floating around the band but a reluctance to expand to other genres and musical styles.

Top Track: Siren City

Rating: 4.6/10

Escape Grace – II / 2006 Arsenal / 4 Tracks / http://www.escapegrace.net / http://www.arsenalrecords.com / Reviewed 22 May 2006


Adam Marsland TOUR DATES

Following up 2008’s “Daylight Kissing Night”, a best-of collection of songs culled from Marsland’s previous solo releases and his band Cockeyed Ghost’s four full-lengths, Marsland is ready to unleash a double album, “Go West”, his first new studio record since 2004’s “You Don’t Know Me”.

“When my last studio album came out in 2004, it was a low point. Nobody really wanted to hear it and I was burnt out from too much touring,” he says, discussing his enthusiasm for ‘Go West’. “Now things are totally different.”

“Albums to me are like children, and you’re responsible for them,” he continues, “some grow up to be mechanics and you don’t have to worry about them. Others are special, and you have to send them to medical school. ‘Go West’ is one of those.”

But, “Go West” would surely test Marsland’s commitment to the craft.

During the writing and recording of “Go West”, Marsland¹s brother passed away unexpectedly, his sister-in-law was a victim in the Binghamton massacre, and his musical equipment was stolen in a home invasion.

“In between [my brother’s death and my sister-in-law’s murder], right in the middle of the recording, thieves broke into my house and stole most of my best gear: my Telecaster, my desktop, my synth, and most of the recording stuff. Gone. The recording files had been backed up but I had to borrow gear and buy a new interface. I was flat broke and I needed that gear to be able to work. It was pretty devastating.

“But I knew I had to keep going and finish this album.”

Through this journey, Marsland was able to let go in the recording process. His work as a session musician with members of the Beach Boys, 2008 Tony Award winner Stew and the legendary ’60s Wrecking Crew had sharpened his musical skills. The goal was simple; make a record that he was happy with, and not nit-pick over everything. Get in, find the soul of the song, get it on tape, and move on.

“These are among the best songs I’ve ever written, it’s easily the best vocals I’ve ever done, and it’s the best I’ve ever played. I think it’s both a personal album and one that’s about everyone’s experience,” comments Marsland without hesitation.

“The best part of it is, we didn’t spend years and years trying to make a masterpiece. The band and I just sat down and did it step by step, half-spontaneous and half-planned, and it came out great. Some of the tracks I did more on my own and others were more with the band (including soul legend Evie Sands, who does a memorable, funky vocal turn on “Two Children in a Bed”). We didn’t dick around with it forever. It doesn’t have this ‘under glass’ quality. It’s a rock ‘n’ roll album in terms of attitude.”

On discussing the music on the album, Marsland quickly says that, “The music is pop, but these are songs about sexual abuse, mental illness, moral ambiguity, and peoples’ interior lives. There’s this prejudice that a pop song isn’t capable of depth. Screw that. I’ve lived enough to write about these things and I think they resonate better with a good melody. I’m going to do it.

“I got to try a disco song, a funk song, a Krautrock thingÅ the double album format let me experiment a little, and having a larger story to tell kept it all in focus. It’s the most I’ve ever enjoyed doing an album. The music just came out.”

Unapologetic and true to himself, Marsland made “Go West” for him, and his fans that have stuck by him through thick and thin. Yes, he ultimately hopes new fans, critics, and others will listen and agree with him, and take something away from the album. But, if they don’t, he feels happy sleeping at night knowing that he made something that he can be very proud of.

Now the only thing left to do is tour relentlessly to spread the word of “Go West”.


9/30/09 – Cyber Cafe West – Binghamton, NY
10/01/09 – Fat Baby – New York, NY
10/03/09 – Andyman¹s Treehouse – Columbus, OH
10/04/09 – The Barking Spider – Cleveland, OH
10/07/09 – Wooley Bully¹s – New Brighton, PA
10/09/09 – Lynagh¹s Pub – Lexington, KY
10/10/09 – Locals Only – Indianapolis, IN
10/12/09 – The Elbo Room – Chicago, IL
10/20/09 – El Cid – Los Angeles, CA
10/30/09 – Brennan¹s – Marnia Del Rey, CA
11/14/09 – Dry River – Tucson, AZ

Turbo’s albums – One Way and Awatar – to be re-issued soon!

Turbo – the legend of Polish hard & heavy scene. Metal Mind Productions presents re-releases of two of the band’s albums – “One Way” and “Awatar”.

“One Way”, the band’s 8th studio album from 1992. Heavier, more brutal and modern than the their previous offerings. It was definetely not a sign of being artistically lost, as some of their fans thought. At that time Grzegorz Hoffmann was the only original member of Turbo so people did tend to exclude this album from Turbo’s discography.

“Awatar”, the band’s 9th studio album from 2001 was their first effort after 10 years of silence. On the one hand it showed the constant search for inspiration in newer sounds, while on the other it was a bridge joining the contemporary Turbo with its „classic“ incarnation from the 80’s. The album proved to be much more mature and modern – especially with reference to its sound. „Awatar“ featured a new drummer, Mariusz Bobkowski. The new edition includes 7 bonus tracks.

Both albums will be re-issued in a new digipak edition, each limited to 2000 copies. Digitally remastered using 24-Bit process, released on a golden disc. The release date is set for 6th October in USA (via MVD).

“One Way” (remastered)

Label: Metal Mind Records
Cat. No.: MMP CD 0631 DG
Barcode: 5907785033108
Format: CD Digipak (limited edition of 2000 numbered copies)
Genre: heavy metal
Release date: 06.10.2009 USA


1. Introduction
2. End user
3. Reagression
4. Mental alienation
5. Blasphemy
6. Refuse to live
7. One Way
8. Forgetfulness
9. The Viper
10. Scum
11. Disaster area

“Awatar” (remastered + bonus tracks)

Label: Metal Mind Records
Cat. No.: MMP CD 0632 DG
Barcode: 5907785033115
Format: CD Digipak (limited edition of 2000 numbered copies)
Genre: heavy metal
Release date: 06.10.2009 USA


1. Armia
2. Upiór w operze
3. Sen
4. Granica
5. Lsd
6. Katatonia
7. Awatar
8. Embrion
9. Fałsz

Bonus tracks:
10. Burn
11. Lęk
12. When A Blind Cries
13. Neon Knights
14. Lęk
15. Bramy Galaktyk (live)
16. Dream

The band was founded in 1980 in PoznaÅ„. The first line-up consisted of Henryk Tomczak (bass), Wojciech Hoffmann (guitar), Wojciech AnioÅ‚a (drums) and Wojciech Sowula (vocals). After some line-up changes the first steady line-up was formed: with Hoffmann and AnioÅ‚a accompanied by Piotr Przybylski on bass, guitars Andrzej Łysów and vocalist Grzegorz Kupczyk. In 1982 they recorded their debut album “DorosÅ‚e Dzieci” (Adult Children). The record was very well received and sold exceptionally well, and the title track is to this day perceived as one of the most important songs in Polish rock music.
In 1983 Bogusz Rutkiewicz (bass) joined the band. They recorded their second album “Smak ciszy”, but despite a very good reception they weren’t really satisfied with that record. They decided to make something very different on their next album. That’s how “Kawaleria Szatana” was conceived – the band’s most famous offering. Released in 1986, it was undoubtedly a breakthrough release for the band. Very fast and aggressive, it soon became very successful. Thanks to excellent guitar parts and Kupczyk’s vocals the band was sometimes called Polish Iron Maiden. The same year they appeared at Metalmania, giving an enthusiastically received gig. Year later Tomek Goehs, the new drummer, joined the band. They played numerous shows all around Poland and recorded a new album “Ostatni Wojownik” (also released in English version as “Last Warrior”). It was as successful as “Kawaleria Szatana” and quickly became one of canon records of Polish heavy metal. Year 1989 saw the release of “A Live!” album, as well as significant line-up changes. Bogusz Rutkiewicz left the band and was replaced by Litza from Acid Drinkers. In this line-up Turbo recorded their next album “Epidemie” (released as “Epidemic” on foreign markets). The band celebrated their 10th anniversary in 1990 at Metalmania festival. Shortly after Kupczyk and Łysów left the band. In 1991 they supported Sepultura gigs in Poland. Turbo’s next album was recorded by Hoffmann, Goehs, Litza and T. Olszewski. “Dead End”, the heaviest material in Poland and that time, maintained in thrash metal style, was soon announced the last album of the band, as Hoffmann decided to dissolve the band. Sometime later “One Way” was released, but the only original member of Turbo was Hoffmann, so people tend to exclude this album from Turbo’s discography. For a few years the musicians worked on their solo projects or played in different bands. They got back together in 1995, playing a gig in PoznaÅ„, their hometown. In 1996 they officially announced their comeback, with Kupczyk, Hoffmann, Rutkiewicz and new members: Marcin BiaÅ‚ożyk on guitar and Szymon Ziomkowski on drums. In 1999 the band was invited to play at Metalmania again, they also performed at Thrash’em All Festival. In 2000 Mariusz Bobkowski took over the drums in Turbo. Next year “Awatar” was released. It was a huge shock for the fans, who expected old school heavy metal in the vein of “Kawaleria Szatana”. The new album was controversial – very modern and very different from everything that Turbo had done before. Soon after the release Tomasz Krzyżaniak became a new drummer and the band was joined by Domnik Jokiel, a guitar player also known from Aion.
In 2004 the new period in their history started. The band set to work on their new album. “Tożsamość” was released both in Polish and English version (as “Identity”). It was a triumphant comeback of the legend of Polish metal scene. The album was promoted at Metalmania festival (among others), where the band proved they were still the top of the scene and that they well deserve to share the title of Great Trinity of Polish heavy metal with KAT and TSA.

The Escaped – S/T (CD)

Six cuts on this self-titled album only stack up to barely break the thirteen-minute mark, so it really is a challenge for a reviewer to adequately gain a proper understanding about the band. The Escaped seem to be a band that takes a lot from early hardcore (Minor Threat, Black Flag) and incorporate it with both newer strains of hardcore (Righteous Jams) and punk (Behind Enemy Lines). As such, each track is imbued with the same breakneck-tempo and sloppy but effectual guitars. It is when the band all throws in on the chorus, such as in “Lost” that The Escaped really begin to impress. It is true that the band knows how to use their instruments and keep largely away from the cheeseball guitar solos that sink a band like Sum 41 and harder-rock acts like Monster Magnet.

The dual vocalist nature of The Escaped just scream out originality, and the attention given to vocals on this disc reflects that. No guitar lines are inconvenienced because Zac and Carter want to sing; everyone is allowed to go at the track with the same fury and not have to subserviate themselves to a second duty in the band. Still, the disc is not perfect, and the main thing that shows that is the tendency for the tracks on this EP to morph into one another without much delineation. There is an argument to be made that it may not be able to change much in the way of style when one is playing that fast, but I would pose that as speed band like Slayer sounds a hell of a lot different than Deicide, even though both bands play the same speed of music. The band adds a needed amount of harmony to their general sound for “Resent”, but even this change in the band’s general sound cannot stop the inertia that has been growing sine “Lost”, where The Escaped really decided to focus on one specific sound instead of attempting different types of punk.

A contrast to that point comes during “Never Be The Same”, where the guitar assault laid down by Justin and Sammy look much more towards the pop-punk side of things than anything, really allowing listeners to take a break from the sound that had dominated throughout. The band has promise, and chances are that the rough spots found on this EP will be largely worked out for their new album.

Top Track: Regret the Day

Rating: 5.1/10

The Escaped – S/T / 2005 TKO / 6 Tracks / http://www.theescaped.net /http://www.tkorecords.com / Reviewed 23 May 2005

Do Make Say Think – Other Truths

This year, Constellation are delivering some mighty fine albums from some treasured artists including Vic Chesnutt, Evangelista and now label veterans *Do Make Say Think*. The sixth full-length from DMST defiantly features four long-form tracks, three of which clock in at over 10 minutes, and all of which trace the inimitable musical arcs that have made this band justly celebrated for their unique sonic palette and vibrant distillation of compositional forms and influences into some of the past decade’s most consistently rich and rewarding instrumental rock.

Bucking the trend towards diminishing attention spans, immediate gratification, snappy digital singles and things that go ‘pop’ right out of the gate, DMST admirably stick to their roots and allow the vines that spring from their fertile musical garden to wind, curl and climb for as long as required. More than ever, the players keep their heads down, creating wonderful multi-movement instrumental works (with the occasional mantric or wordless vocal passage, courtesy guest singers *The Akron Family* and *Lullabye Arkestra*), overflowing with attention to tone and timbre, animated by unfussy yet ornate harmony, melody and polyrhythm, shot through with ineffable soul. The four songs on *Other Truths* are vintage Do Make Say Think, and the album represents the first time since the band’s debut (recorded over a dozen years ago) that they have found themselves with an entire collection of songs that unfold so organically over long duration. As testament to the unfettered evolution of these tunes, the band has titled them simply “Do”, “Make”, “Say” and “Think”.

Ultimately it is tricky to distill what has made DMST so compelling to so many critics and fans over their 13-year history, but inarguably something beyond the sum of its parts has always sparkled through their music, an amalgam of many elements that seem present all at once, on every song and through every album: cerebral, emotional, atmospheric, visceral, cosmic, pastoral, synthetic, organic, meditative, ecstatic. Other Truths rallies them all once again, in new and dynamic ways, bearing the distinct imprint of the band’s sound – a brilliant addition to the band’s canon.

In support of the release, the band are going to be touring on the Continent but not before they have stopped by London town to play a one-off UK show at the *Scala on 22 October*.


After steadily climbing various Rock radio charts for the past several months, “Champagne,” the propulsive debut single from St. Louis’ Cavo, has hit No. 1 on the BDS/Billboard Active Rock chart.

The track has reached an audience of more than 117 million, scoring more than 150 radio adds at all Rock formats across the country, including 60 stations in Top 5 Power Rotation and 80+ stations with Top 5 most requested phones. The single has also broken into the Top 10 on the Mainstream Rock Chart, and the Top 25 on the Modern Rock Chart.

“We are really excited to have hit Number One on our first single,” says Cavo’s frontman Casey Walker. “It’s a huge milestone to reach, and we’re so appreciative of all of the support we’ve gotten from radio stations and new fans around the country. Hopefully, this is a sign of more great things to come!”

“Champagne” is the first single from Cavo’s major-label debut album, Bright Nights Dark Days, which was released by Reprise Records on August 11th.

Produced by David Bendeth (Breaking Benjamin, Paramore, All Time Low), Bright Nights Dark Days is a passionate collection of powerful rock-and-roll and keenly felt lyrics. The album also includes the track “Let It Go,” which is featured on the Transformers: Revenge of the Fallen soundtrack, released June 23rd.

Cavo, which is singer Casey Walker, guitarist Chris Hobbs, drummer Chad La Roy, and bassist Brian Smith, have been on the road all summer performing on the Monster Energy second stage line-up of Mötley Crüe’s hard-rock extravaganza Crüe Fest 2. Cavo will then hit the road with Shinedown and Sick Puppies through October, followed by a tour with Daughtry through December. All tour dates below.

9/29 Modesto, CA Center Plaza
9/30 San Diego, CA House of Blues 1
10/05 Tempe, AZ Marquee Theater W/ TBD
10/07 San Antonio, TX Sunset Station
10/09 Houston, TX Verizon Wireless Amphitheatre

CAVO with Daughtry and Theory of a Deadman
10/19 Topeka, KS Kansas ExpoCentre
10/21 Omaha, NE Omaha Civic Auditorium
10/22 Ames, IA Hilton Coliseum
10/24 Madison, WI Alliant Energy Center
10/25 Peoria, IL Peoria Civic Center
10/26 Ft. Wayne, IN Allen County War Memorial Coliseum
10/28 Lansing, MI Breslin Events Center
10/29 Saginaw, MI Dow Events Center
10/31 Toledo, OH Lucas County Arena
11/2 Toronto, ON Air Canada Centre
11/4 Youngstown, OH Covelli Centre
11/5 Reading, PA Sovereign Center
11/6 Atlantic City, NJ Trump Taj Mahal
11/12 Greensboro, NC Greensboro Coliseum
11/13 Highland Heights, KY The Bank of Kentucky Center
11/14 Huntington, WV Big Sandy Superstore Arena
11/16 Wilkes-Barre, PA Wachovia Arena
11/17 Bridgeport, CT Arena at HarborYard
11/19 Fairfax, VA Patriot Center
11/20 Charlottesville, VA John Paul Jones Arena
11/30 Gainesville, FL Stephen Connell Center
12/1 Tallahassee, FL Tallahassee County Civic Center
12/2 Pensacola, FL Pensacola Civic Center
12/4 Birmingham, AL BJCC Arena
12/5 Louisville, KY Broadbent Arena
12/7 Tupelo, MS BancorpSouth Arena
12/8 Bossier City, LA CenturyTel Center
12/9 Lafayette, LA Cajundome
12/11 Corpus Christi, TX American Bank Center
12/12 San Antonio, TX Freeman Coliseum
12/13 Austin, TX Frank Erwin Center
12/15 Tulsa, OK BOK Center
12/16 Jonesboro, AR ASU Convocation Center
12/18 Little Rock, AR Verizon Arena
12/19 Southaven, MS DeSoto Civic Center
12/20 Evansville, IN Roberts Stadium

I Drink for a Reason by David Cross (Book)

David Cross is getting a little tired of carrying around the hipster cross. Worshipped for co-creating/starring in Mr. Show and his brilliant work with Arrested Development, Cross also happens to be one of the funniest controversial stand ups working today (controversial meaning he does more than jokes about airline peanuts). Continue reading “I Drink for a Reason by David Cross (Book)”

Porter Block – The Gowanus Yacht Club (CD)

Written as a love letter to his Brooklyn neighborhood, The Gowanus Yacht Club was a bit of an experiment for Porter Block. For his fourth record, the pop rocker sought the help of 11 diverse song writers to collaborate on the record. Continue reading “Porter Block – The Gowanus Yacht Club (CD)”