Clinton Curtis – “And It Stoned Me” (Van Morrison Cover)

With the release date for his debut album 2nd Avenue Ball a month away, Clinton Curtis holds fans over with the freebie “And It Stoned Me,” a Van Morrison tune from one of Clinton Curtis’s favorite albums, Moondance. In addition to being one of Clinton’s favorite jams, the song also deeply resonates with him personally. Clinton explains, “This song pulls you right back to a simpler time, where an entire day could be spent hitching rides back and forth from the fishing hole. Being loose, easy, and carefree, having grown up in America’s only Caribbean island, and being the son of a charterboat captain, this is all something I can really relate to.”

To recreate this classic song, Clinton Curtis decided to display his far-reaching talent as a musician by playing all of the instruments on the track. (See video link below). To give the song a personal touch, Clinton let his Jamaican-fed roots shine on the reggae-tinged chorus. “Matt Stine engineered the whole track and joined me for the Nyabinghi drum break in the middle so I wasn’t so lonely,” Clinton said.

Staying true to the ethos of the original song, Clinton’s version has the same steady tempo and classic feel. Often compared to Van Morrison by music critics, it was only a matter of time before Curtis paid homage to the legend. “It’s a total curse for me, since he’s one of the most untouchable, incredible singers in the history of rock and roll, but don’t get me wrong, I’ll take the compliment,” says Clinton.

Also, Clinton Curtis’ bi-weekly UStream series, dubbed CC Radio will air its second episode tonight at 9pm EST. Award winning artist Matthew Burrows, who created all the album art for 2nd Avenue Ball, will talk about his work while Clinton and his band perform songs, including a new blues original created especially for the show. Tune in at

Download the mp3 here:

And a short video showcasing Clinton performing all the parts live in studio here:

Bayside on Take Action Tour – 2011 Dates

4/22 Boston, MA- Paradise Rock Club
4/23 Philadelphia, PA- The Electric Factory
4/25 Baltimore, MD- Rams Head Live
4/26 Raleigh, NC- Lincoln Theatre
4/28 Atlanta,GA- Center Stage
4/29 Orlando, FL- Club at Firestone
4/30 Ft. Lauderdale- Revolution
5/1 St. Petersburg, FL- State Theatre
5/2 Pensacola, FL- Phinea’s Phogg’s @ Seville Quarter
5/4 Houston, TX- Fitzgerald’s
5/5 San Antonio, TX- White Rabbit
5/6 Dallas, TX- Trees
5/7 Tulsa, OK- Cain’s Ballroom
5/9 Mesa, AZ- Nile Theatre
5/10 Anaheim, CA- House of Blues
5/11 San Diego, CA- Soma
5/12 West Hollywood, CA- House of Blues
5/14 Sacramento, CA- Ace of Spades
5/15 Portland, OR- Hawthorne Theatre
5/16 Seattle, WA- El Corazon
5/18 Salt Lake City, UT- The Complex
5/19 Denver, CO- The Summit Music Hall
5/20 Omaha, NE- Slowdown
5/21 Des Moines, IA- People’s Court
5/22 Chicago, IL- Metro
5/24 Covington, KY- Madison Theatre
5/25 Pontiac, MI- The Crofoot Ballroom
5/26 Pittsbug, PA- Altar Bar
5/27 Buffalo, NY- Infinity Hall
5/28 New York, NY-Best Buy Theatre

HATE North American Tour Dates



March 9 @ Jaxx – W. Springfield, VA
March 10 @ Championship Bar & Grill – Trenton, NJ
March 11 @ Montage Music Hall – Rochester, NY
March 12 @ Rocko’s – Manchester, NH
March 13 @ The Webster Theater – Hartford, CT
March 14 @ Crazy Donkey – Farmingdale, NY
March 15 @ Petit Campus – Montreal, QC – CANADA
March 16 @ Mod Club – Toronto, ON – CANADA
March 17 @ Blondie’s – Detroit, MI
March 18 @ Peabody’s – Cleveland, OH
March 19 @ Reggie’s Rock Club – Chicago, IL
March 20 @ Station 4 – St. Paul, MN
March 22 @ The Republik – Calgary, AB – CANADA
March 23 @ Starlite Room – Edmonton, AB – CANADA
March 25 @ El Corazon – Seattle, WA
March 26 @ Hawthorne Theatre – Portland, OR
March 27 @ DNA Lounge – San Francisco, CA
March 28 @ Chain Reaction – Anaheim, CA
March 29 @ The Key Club – Hollywood, CA
March 30 @ Brick by Brick – San Diego, CA
March 31 @ UB’s Restaurant & Bar – Mesa, AZ

April 1 @ The Nat Ballroom – Amarillo, TX
April 2 @ The Marquee – Tulsa, OK
April 3 @ Rail Club – Ft. Worth, TX
April 4 @ Emo’s – Austin, TX
April 5 @ Walter’s – Houston, TX
April 7 @ Brass Mug – Tampa, FL
April 8 @ The Masquerade – Atlanta, GA
April 9 @ Volume 11 – Raleigh, NC
April 10 @ The Casbah – Charlotte, NC



April 18 @ The Opera House – Toronto, ON
April 19 @ Imperial de Quebec – Quebec City, QC
April 20 @ Club Soda – Montreal, QC
April 22 @ The Palladium – Worcester, MA
April 23 @ Starland Ballroom – Sayreville, NJ
April 24 @ The Trocadero – Philadelphia, PA
April 25 @ The Gramercy Theatre – New York, NY
April 26 @ Tremont Music Hall – Charlotte, NC
April 27 @ The Club At Firestone – Orlando, FL
April 28 @ Culture Room – Ft. Lauderdale, FL
April 29 @ The Masquerade – Atlanta, GA

May 1 @ Clicks – Tyler, TX
May 2 @ Scout Bar – Houston, TX
May 3 @ Trees – Dallas, TX
May 5 @ Jake’s – Lubbock, TX
May 6 @ Sunshine Theater – Albuquerque, NM
May 7 @ The Clubhouse (feat. D.R.I.) – Tempe, AZ
May 8 @ Club DV8 (feat. D.R.I.) – Tucson, AZ
May 9 @ House Of Blues – San Diego, CA
May 10 @ The Knitting Factory – Reno, NV
May 11 @ The Grand Ballroom At Regency Center – San Francisco, CA
May 12 @ Hawthorne Theater – Portland, OR
May 13 @ El Corazon – Seattle, WA
May 14 @ The Knitting Factory – Spokane, WA
May 16 @ Gothic Theater – Englewood, CO
May 18 @ Station 4 – St. Paul, MN
May 19 @ Reggie’s Rock Club – Chicago, IL
May 20 @ Blondie’s – Detroit, MI
May 21 @ Montage Music Hall – Rochester, NY
May 22 @ Peabody’s – Cleveland, OH


May 23 @ Expo Five – Louisville, KY
May 24 @ The Rave – Milwaukee, WI
May 26 @ The Zoo – Winnipeg, MB
May 27 @ The Exchange – Regina, SK
May 28 @ Dickens – Calgary, AB
May 29 @ Starlite Room – Edmonton, AB
May 31 @ Rickshaw Theater – Vancouver, BC

The Last Act – Still Standing (CD)

The Last Act is a bluesy, metal-based act that immediately assaults listeners with their own blend of Metallica, Motorhead, and Dimmu Borgir. While absolutely brutal in its execution, “Still Standing” is a track that will have listeners singing along after their first listen. With a head full of steam, The Last Act continues to kick ass with their “No Chance…Again”. Despite blazing through the track with a grim grittiness, this track is the first to show the technical skill of The Last Act. The arrangements on this track are what shine brightest; the band creates a miniature epic in the course of five minutes. Continue reading “The Last Act – Still Standing (CD)”

NeuFutur Introduces Nick Hagelin

Pop lothario Nick Hagelin doesn’t need a gimmick to win over listeners – the Atlanta-based crooner is as real as they come. Armed with an acoustic guitar, a dulcet voice and chiseled looks, the 23-year-old sings it from the heart, using feel-good music to directly connect with fans by spinning romantic tales set to danceable rhythms.

Using the studio as his form of therapy, the blond loverboy is stacking up soul-kissed pop records in preparation for his label debut. Incorporating influences ranging from Sting and Stevie Wonder to Jay-Z and Notorious B.I.G. into his music, Nick is creating feel-good gems versatile enough to soundtrack a night out on the town and warm your heart, with each song inspired by the hopeless romantic’s relatable adventures in love.

Nick is ready to burn up radio with the release of his debut single “I.C.U.,” a party-starter focused on falling for a stranger who’s chilling on the other end of a nightclub. “It’s about going to a party and you’re there to have a good time and then all of a sudden, you see that one person that just puts you on tunnel vision,” he explains of the catchy tune. “And for the rest of the night, there’s only one thing that’s on your mind and that’s connecting with that person and dancing with them.”

The thumping “Take Off” digs deeper into his romantic past, where Nick sweetly coos about catching a flight in time to make it home to his girl. “People Go Wild” is even sexier, boasting crisp harmonies and chugging guitars that will have club goers hightailing it to the dance floor.

“It’s all about good pop music, great melodies and up-tempo dance grooves,” says Nick. “I just think that music is the most incredible medium for expression, especially for me personally, because at the same time that I get someone’s mind thinking about something with my lyrics, I can get their body moving with the groove.”

Though he’s spent the past few years honing his chops on the performance circuit, Nick has followed a surprisingly unconventional path that cements just how far his talents run. Growing up in Teaneck, New Jersey, Nick was immersed in music as an infant, with his church singer parents fostering his appreciation for and love of the arts.

As far back as pre-K, Nick was gunning for the spotlight, joining three of his classmates in a band called The Dinosaur Four. By the time they hit sixth grade, the quartet reformed as a trio, with Nick penning lyrics during class instead of focusing on his schoolwork. “I didn’t always know that I wanted to be a rock star,” he states, “but my band was pretty much the most exciting thing in my life when I was a teenager.” Nick spent much of his time teaching himself how to play the guitar, taking only a few lessons at a local shop and studying music theory at his high school.

But while he chased his musical dreams, he also had his sights set on other areas of the arts. A trained ballet dancer, Nick would shuttle between New Jersey and New York City where he would tirelessly train during 10-hour rehearsals and audition for acting gigs on the side. With his pop star aspirations in the back of his mind, he accepted an offer to dance at the prestigious Carolina Ballet after graduating from high school in 2005, signing his contract and moving down to North Carolina at the age of 18.

Nick spent his days at the Ballet, but never turned his back on his passion for music. At night, he would perform at local open mics, learning how to perform live while catering to the audience – but not without a few trying gigs. “I finished a song and you’d hear crickets chirping and forks clinking on plates,” he recalls. “I’d turn the page in my songbook and just play another one.”

Undeterred by a few lousy shows, Nick built a steady following and was encouraged by his girlfriend at the time to participate in the North Carolina Songwriting Contest in 2007. He ended up winning over the judges and was awarded first prize, using his prize gift certificates to build a makeshift home studio and press 1,000 copies of his first solo album Nice to Be Here.

“Marmalade,” one of the 11 tracks on the independent release, ended up in the hands of Grammy-winning producer 9th Wonder, who got in touch with Nick and began recording hip-hop-inspired cuts including “People Go Wild” in his Raleigh-based studio. A friend coaxed Nick into taking a trip down to Atlanta to meet with super producers Bangladesh and Sean Garrett who showed him love and encouraged him to reestablish himself in ATL.

First, he had to sever ties in North Cackalacka. Nick made the tough decision to hang up his ballet shoes in June 2009, retiring from his lifelong dance career to chase his aspirations to Atlanta. Heading down south on “a dollar and a dream,” he arrived in ATL in September 2009, once again performing at open mics and keeping a roof over his head by taking up one-off dance gigs for Atlanta Opera and Georgia Lottery.

Soon, his buzz began to build. Nick ventured to Barley’s Sports Bar & Lounge in downtown Atlanta to play during their Tuesday night open mic. After wowing the audience and stealing the show, the establishment offered Nick his own recurring gig on Thursdays, putting him on the radar as one of ATL’s rising stars.

“I made the impression I was really trying to make,” says Nick, who reached out to producers and writers to get back into the studio. He soon linked up with Greg Johnson, who signed Nick to a label deal and put him back into the studio. Spending around 50 hours per week recording new tracks, Nick was given complete creative control over his project, making sure he’ll get listeners bustin’ moves while relating to his sensitive, romantic experiences.

“I love to get people to feel good about love, because if you don’t feel good about love, you’re never going to find good love in your life,” he says. “I just hope that my music can allow people to connect with each other and have a good time together. This definitely isn’t my break-up album. This is definitely young love, and there’s a lot of romance in the music.”


Sometimes albums are so aptly titled that the record takes on a life of its own while at the same time strictly adhering to the title itself. The Defiant Ones is one of those titles and in turn, one of those albums with a fierce, dedicated aesthetic.

The debut full-length from Charge of the Light Brigade is a comprehensive listen that combines intense, punk-influenced melodies with an expansive and at times untouchable groove. It possesses an irresistible pop sensibility yet still there are no tracks that pander; instead, this collection of thirteen tracks has a vision that will leave listeners helpless.

Guitarist/songwriter Luke Sneyd has long been a fixture on the Toronto scene, originally as the guitarist for electro-rock act Mountain Mama. Two solo releases included an early demo of his track ‘The Prisoner’ that was a finalist in the Unisong International Songwriting Contest, and the video won him a Top 5 spot in the Great Canadian Band Challenge, competing for a deal with Universal Canada. And now, with new songs and new collaborators, The Defiant Ones is an honest and earnest culmination of five years of work.

“Together, with the experience they have, there’s no doubt they can continue to craft a sound that’s familiar, yet experimental, different, and polished. Luke Sneyd has such a comfortable vocal delivery that you’ll think you’ve been listening to his records for years.” – Consequence of Sound

Strong themes of doomed heroism and the terminal tick of relationships gone awry abound here. They’re heard in the resilient sprawl of ‘Fastest of The Losers’, the furious early 90’s punk stomp of ‘Charge!!’ and finally, a moody but ultimately fulfilling cover of ‘Atlantic City,’ which serves as the album’s closer. Each track drives its way into your subconscious with alarming and altogether defiant grace. It’s an honest approach that fuels the entire record. Candid emotions are channeled into tracks like ‘The Visible Man’, which features a bruising post-punk feel. And ‘The Real Heart’ swells beyond expectations.

The vision of Charge of the Light Brigade is certainly a focused one. Even the most defiant of listeners will agree; with The Defiant Ones, this is a band that certainly cannot be stopped.

Charge of the Light Brigade is a collaboration between songwriter Luke Sneyd and producer Marc Koecher, with bassist Jason Eagan (Clockwise, Ryan Luchuck), and drummers Zack Mykula (Bella Clava, Inhumanoids) and Owen Tennyson (Blue Peter, Rough Trade).

CD Release Show: March 5th @ Mitzi’s Sister – Toronto, ON

Rainbow Arabia US TOUR // all dates with Spoek Mathambo

March 8th – San Francisco, CA at The Mighty
March 10th – Seattle, WA at Nectar
March 11th – Portland, OR at Branx
March 12th – Boise, ID at The Reef
March 13th – Salt Lake City, UT at the Urban Lounge
March 14th – Aspen, CO at Belly Up
March 16th – Austin, TX at Red 7 (SXSW)
March 19th – Austin, TX at Malverde (SXSW)
March 22nd – El Paso, TX at Lowbrow Palace
March 24th – Tucson, AZ at Club Congress
March 25th – Los Angeles, CA at The Echoplex (Record Release Party)
March 26th – San Diego, CA at Soda Bar


April 5th – Festival SUPER MON AMOUR ! @ Grand Mix – Tourcoing – FRANCE
April 6th – Festival SUPER MON AMOUR ! @ Olympic – Nantes – FRANCE
April 8th – De Helling – Utrecht – NETHERLANDS
April 9th – Melkweg – Amsterdam – NETHERLANDS
April 10th – Festival SUPER MON AMOUR ! @ Laiterie – Strasbourg – FRANCE
April 11th – Gebaeude 9 – Koeln – GERMANY
April 12th – Astra Stube – Hamburg – GERMANY
April 13th – Debaser – Malmo – SWEDEN
April 14th – Debaser Slussen – Stockholm – SWEDEN
April 15th- Bla ! – Olso – NORWAY
April 16th – Jazzhuset – Goteborg – SWEDEN
April 18th – Musikcafeen – Arhus – DENMARK
April 19th – Huset Magstræde – Copenhaguen – DENMARK
April 20th – Berghain Kantine – Berlin – GERMANY
April 21st – Karlstorbahnhof – Heidelberg – GERMANY
April 22nd – Carré Rotondes – Luxembourg – LUXEMBOURG
April 24th – Electron Festival – Geneve – SWITZERLAND

April 27th – Le 106 – Rouen – FRANCE
April 28th – Witloof Bar Botanique – Bruxelles – BELGIUM
April 29th- La Machine – Paris – FRANCE
April 30th – Camden Crawl Festival – London – UK
May 1st – Sounds from the other city – Manchester – UK
May 2nd – Captains Rest – Glasgow – UK
May 5th – CAMP – London – UK


Averse to any easy classification, Rainbow Arabia’s continent-trekking, kaleidoscope pop is rooted in no particular time or place, employing modern technological processes to an array of musical cultures and eras. The Los Angeles duo began with the purchase of a Lebanese Casio that played microtonal scales and Eastern beats, with which they quickly recorded their propulsive first EP, The Basta, synthesizing bossa nova and industrial post-punk with heavy Middle Eastern vibes. Digging deeper for inspiration from the worldly found sounds of Sublime Frequencies compilations, their follow-up EP, Kabukimono, expanded the color palette of their “fourth world” pop with dark, Arabic disco-dancehall jams sitting alongside sunnier moments with Caribbean and African flourishes.

Rather than restricting themselves to the expanse and musical artifacts of Earth alone, Danny and Tiffany Preston recalibrate their focus aiming their sights upwards into outer space. Nearly a year in the making, Rainbow Arabia’s forthcoming first full-length Boys And Diamonds is a stunning journey that not only marries East with West but also the past with the future. Immediately, you can hear some familiar elements found in their previous releases: Danny’s asymmetrical tribal beats and lysergic pads, Tiffany’s labyrinthine fretwork and tick-tock vocal swagger. But you’ll also notice: the hooks are stickier and more confident, the rhythms are sturdier, and the production is lusher, even astral, giving the songs more space to breathe.

Boys And Diamonds (out March 1st in the US, February 28th in UK/Europe) is unmistakably a pop album but also one that comfortably fits in with Kompakt’s long-standing lineage of genre-refracting releases.

The Caribbean Live:

03/04/11 Bethesday, MD – Story/Stereo at The Writer’s Center
03/16/11 Austin, TX – DC Does Texas Day Party at Lovejoy’s (12-6pm)
03/17/11 Austin, TX – Hometapes Showcase at Skinny’s *
03/19/11 Austin, TX – Friend Island (venue TBD)*
04/22/11 Washington, DC – U Street Music Hall (early show) +%
06/03/11 Pittsburgh, PA – Howler’s *+
06/04/11 Brooklyn, NY – Sycamore *
06/06/11 Baltimore, MD – Wind-Up Space *
*With All Tiny Creatures / +With Mariage Blanc / %With More Humans
“The notion that life as an artist and life as a grown-up are invariably in conflict is a fiction ingrained in most of us very early and with regularity,” writes The Caribbean’s Michael Kentoff after receiving the finished Discontinued Perfume CD in the mail. With four releases on Hometapes — all with label founders Sara and Adam Heathcott at the helm as visual artists — The Caribbean are intrinsically connected to their album packaging and its role in the dialogue with their music, among both themselves and the world at large.
“We dug deeply into Discontinued Perfume. We saw ourselves in it. We saw our friends in it. We asked questions. And then we realized that the very answer to those questions, the very meaning of the album, were in a few words that Michael had said in email. So we put those words on the cover,” said Sara Heathcott of Hometapes. The Heathcotts collaborated in their hometown of Portland, Oregon, projecting — literally — the story of Discontinued Perfume onto the built environment, including their own home. The result: perhaps the most striking Caribbean record yet.

Who are The Caribbean? You can search Pitchfork and find reviews (good ones) of every one of their records. You can time travel back three years and read about their day jobs on Stereogum; a civil litigation attorney, an English teacher, and a US Dept. of Transportation librarian have been writing, recording, and performing music together for over a decade in Washington, DC. They’ve been on Hometapes since 2004, helping plow the land that grows bands you’ve heard of.

If indie rock is a high school, The Caribbean — Michael Kentoff, Matthew Byars, and Dave Jones — sit at the lunch table with Daniel Higgs, Wayne Coyne, and John Darnielle. But since their inception in 1999, they’ve always hidden behind something: lyrics, unorthodox chord progressions, slithering melodies, iconic-but-abstract visual art, humor and satire, a nearly un-Google-able band name, and even their own normal-guy appearance. Discontinued Perfume, their first album in three years, began no differently: it was born Municipal Stadium, in the tradition of ambiguous album names like Plastic Explosives and Populations. But then the compass arrow turned. On the suggestion of friend and album co-producer Chad Clark, the song “Discontinued Perfume”– a reference to the mysteriously doomed Teresa Duncan and Jeremy Blake — surfaced as the namesake. This change in direction, with a name so open to interpretation and edging on sounding pretty, was no subtle shift. For The Caribbean, and specifically frontman Michael Kentoff, this was a revelation.

“In February, I was completely non-functional — for days I didn’t remember how to play guitar. I went with Maureen to the Whole Foods and wandered around — I didn’t know what I was supposed to do; all I could focus on was the bizarre sounds people made as they talked to each other in the produce section (it was like tripping, without the fun). My brain said, ‘You want to do lots of shit in multiple worlds, eh? How about functioning in none?'” Michael Kentoff describes, in an email, the moment he realized he was having a nervous breakdown during the making of Discontinued Perfume.

At forty-six years old, he’s a veteran in the independent music scene (and its DC-based epicenter). He wears a collared shirt every day and drives to Georgetown to work. He’s married. He has cats. He has season tickets. He has an alarm clock. He goes to shows. He has parents. He has lunch. He attends funerals. He has Pro-Tools. He has laundry to fold. And he describes it best in the lyrics to Discontinued Perfume’s “Artists in Exile”:

The houses are real
and the garden is real
and everything looks nice enough to steal.
So meanwhile in the basement, secret tapes roll seven IPS.
Artists in exile on your street:
Yeah they’re living alright.

This voyeuristic tone that Kentoff has cultivated in real time over four albums and two EPs is flat-out autobiographical. “It’s pretty explicitly about living as a secret artist, wherein a person exiles themselves, in being an artist, from the straight world (workmates, neighbors, family) and, in living a straight life, from other artists,” writes Kentoff. “That duality is one of the things that, I think, makes our music unique and I believe in it. I didn’t realize until February that, in order to maintain that duality, I was compartmentalizing different parts of my life and that if one compartment overflowed, I’d be shoulder-deep in some bad shit. No idea. When I wrote the song, it was a celebration, a declaration of defiance.”

This fact opens up Discontinued Perfume like no Caribbean record before, and advocates a revisitation of every lyric booklet in their catalog. Michael Kentoff is not the first to put his truths to music. But The Caribbean, and specifically Discontinued Perfume in its honesty about modern life, are ambling toward universal truths. This band, and we as listeners, cannot be separated from the era we live in. Our waking life has expanded to embrace new dimensions of communication, experience, and measurement. Our own evolution has Google Analytics running on it. Your pocket is probably vibrating. And, all the while, there’s a collective unrest among us, a zeitgeist of 21st century realization. “Discontinued Perfume seems to be about living a strong, practical, grown up life and being comfortable with leaving that world and accepting the unknowable,” writes Kentoff. Emblazoned across the record cover, this sentence defines the album, and, if you might entertain the thought, the state of mind of the generations born in and around the 70s — or anyone in the process of reconciling their humanity with the world we’ve built. Though the sentence is over 140 characters long.

Kentoff continues, “Many of the songs are about trying to see through closed doors. Trying to understand people who have done terrible or unfathomably disturbing things (“Lands & Grooves”, “The Declarative”, “Discontinued Perfume”), people who hurt you (“Collapsitarians”, “Outskirts”), those with no ability to communicate or who communicate in off-putting ways (“The Clock Tower”, “Municipal Stadium”,”Mr. Let’s Find Out”), victims and/or oppressors (“Thank You For Talking To Me About Israel”, “Supply Lines”), or just one’s own mysterious dual life (“Artists in Exile”).”

The Caribbean’s writing process is only matched in intensity and experimentalism by their recording process. The sonic steps taken by Discontinued Perfume illuminate the psychological strides of the album. Matthew Byars’ rhythmic arrangements, from percussion to synthesis to vocals, armor Kentoff’s conceptual core. Dave Jones’ always-otherworldly guitar has sprouted a tractor beam, transporting you from song to song without ever touching the ground. This trio, bolstered by the sonic presence of usual collaborators Tony Dennison and Don Campbell along with friends Brad Laner (Medicine), Thomas Wincek (Volcano Choir, All Tiny Creatures), Nick Butcher, Slaraffenland, and Chad Clark (Beauty Pill, Smart Went Crazy), has made their finest music to date.

Discontinued Perfume is about the gray area — where we all live. “Just breathe and try to relax: we’re all alone,” sings Kentoff. “There are no microphones, no cameras in the walls.” The Caribbean builds up and tears down again, embracing all the magic of the world with the full knowledge and acceptance of the fact: “No matter where you end up, you’ll find yourself on somebody’s list.” Identity is intangible and uncontainable; you do your best to stake a claim, realizing that the power to be anything is largely out of your hands. The lesson of this album is that there is no lesson. The songs of Discontinued Perfume are snow globes — tiny dioramas to be shaken and shaken again. Like living, The Caribbean is not easy…until you put on your headphones, stop worrying, and let it be.

-Sara Padgett Heathcott, Hometapes

Wolfe Gang – Read the Fine Print (CD)

“Read the Fine Print” begins with an absolutely smooth bit of funk, blues, and jazz that will ease listeners into the unique sound presented them by the Wolfe Gang. With an absolutely lush production, the Wolfe Gang have a tremendous amount of momentum going into “Everyone”. “Everyone” changes things up considerably, with a bit of punchy percussion that allows for a sultry, almost Tom Waits meets John Morrison type of vocal to dominate. As was the case with “Read the Fine Print”, the band’s talent is considerably enough to tie everything together while keeping listeners on the edges of their seats. Continue reading “Wolfe Gang – Read the Fine Print (CD)”


Natsume Inc., a worldwide
developer and publisher of family-oriented video games, announced
today that Natsume Championship Wrestling is now available for
download on the Wii Virtual Console in both North America and Europe.
The game is rated E+10 by the ESRB.

“Natsume Championship Wrestling is one of the all-time classic
wrestling games,” said Hiro Maekawa, President and CEO at Natsume.
“Loaded with depth and technique, this game delivers an unmatched
wrestling experience!”

Step into the ring with one of 12 outrageous wrestlers and bring the
pain! Wield the massive power of Asteroid, the lightning-fast strikes
of Viper, the underhanded attacks of Phantom, and many more madmen of
the ring! With its robust grappling system and over 50 moves to
master, Natsume Championship Wrestling delivers the deepest and most
realistic wrestling action of the 16-bit era! Players can test their
might against the crafty AI, or up to 4 players can compete in
exhibition, tag team, and round robin matches!
For more information on Natsume Wrestling Championship, please visit You can also follow all of the latest Natsume news at and


About Natsume
Natsume Inc. is a worldwide developer and publisher that specializes in
unique and family-oriented interactive entertainment software for a
variety of platforms. Most known for publishing Reel Fishing and
Harvest Moon, Natsume is dedicated to producing quality video games.
For more information about Natsume Inc., visit