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Press Releases For June: Here Are The Artists

press releases for June
Ben Zaidi is among these press releases for June (photo credit: Blavka)

Deaton Chris Anthony, 5 Billion in Diamonds, MuMu, Betty Who, Ben Zaidi, T Bone Burnett, and Brandi & The Alexanders are the artists in these press releases for June.

Deaton Chris Anthony – “Goodbuy My Old Life”: A playful song filled with fun synths, electronic tidbits, outrageous vocals, and funny visuals with an ‘80s movie vibe. The song is a collaboration with the New Zealand star BENEE and taken from Deaton’s forthcoming debut album “SID THE KID,” set for release July 29 on Dirty Hit. Deaton says: “Kansas was home for me all of my life before I moved to Los Angeles. Kansas is where I thought I was meant to do one thing and one thing only. Bowl. At the age of 12, I placed the highest score in my age group in all of Kansas. 246. I went on to become bowling captain in High School and demolished my high score with a 286 at regionals. As the years went by, I never could beat my high score. Those 14 missed pins haunted me. A 300 is every bowler’s dream! I thought bowling was my purpose but I was wrong. Moving to Los Angeles crushed my bowling career and my life became a rat race. Becoming the world’s biggest pop star isn’t easy after all. It’s brutal. It’s war. I’ve learned so much over the years recording music but I have to be honest, these days all I can think about is bowling. Bowling isn’t just a sport or a thing to do with your friends. It’s a lifestyle and it’s my life! Style. Where is it in bowling these days? Have you seen what the pros are wearing? Ouch. Bowling is in dire need of a rebrand. A revolution! My mission is to make bowling stylish again. Maybe even as stylish as the bowling animations on screen when you get a strike?” “SID THE KID” is the story of the titular character, a lightly fictionalized version of young Deaton, and his older brother Korbin growing up in Kansas. “I draw inspiration from childhood. I have an older brother, Korbin. This record is dedicated to him,” says Deaton. “We would drive in the country in Kansas with the sunroof open. We’d listen to Dashboard Confessional, a lot of emo stuff, and he would scream the lyrics, looking up at the stars. That’s where SID THE KID takes place: rural Kansas. Imagine this: I was a chubby ten-year-old, and my nickname was Sid the Kid. Korbin and I lived in this little shed in the middle of this forest. This shed had our computer, TV, and all of our music gear. We’d walk to school nearby, and we hung out at the skate park and the bowling alley.” ”SID THE KID” takes Deaton in a bold new direction as the synth whiz’s first-ever guitar-based music, working with a list of acclaimed artists including Filipino-British songstress Beabadoobee, rising New Zealand star BENEE and multi-instrumentalist Mac Demarco, who plays bass and drums on one of the tracks. Deaton collaborated on creative direction for the album with multi-disciplinary artist Julian Klincewicz (Beyonce, Jay-Z, Louis Vuitton, Acne, Calvin Klein). The visual language for the record is a spectrum of color, texture and emotion that skirts the line between modern nostalgia and contemporary visual vernacular. Each video takes on and pays homage to different textures of the early 2000s childhood—VHS memories, Sunday morning cartoons, skate videos on DVD, old family Super 8 films, and reality TV.

5 Billion in Diamonds – “I Colour You In”: A sprawling, languid song with a psychedelic ambiance, lush keyboards infused with layers of horns and flutes, sweet vocals, and a cinematic appeal, somewhat caught between the ‘80s and ’90s. This is a track from the upcoming LP “Divine Accidents,” by 5 Billion in Diamonds — the legendary trio of Butch Vig, Andy Jenks, and DJ James Grillo — due July 8 via MAKE Records. With their signature genre-bending sound, the LP is stacked with an exciting set of renowned collaborators and delivers on the anticipation that such a star-studded group promises. Speaking on the track, Butch Vig wrote: “‘I Colour You In’ was birthed from a keyboard progression Andy came up with while we were sitting around Jame’s kitchen table on a Sunday afternoon. As many bottles of vino were being consumed, Helen wrote the lyrics while we all sang together working out the arrangement. We wanted to channel some Dusty Springfield and Bobby Gentry into the song and added some John Barry-esque horns and flutes in the final overdubs to give some majesty to a little gem of 5BID dream pop.” Vocalist Helen White continued: “The song is a conversation with the sun, about the beauty of life, the importance of love, and the beginning and end of everything.” Additionally, the band has shared a brand-new video for the track. “Divine Accidents” is the follow-up to the band’s eponymous 2017 debut – another imaginary soundtrack to another imaginary film – a dazzling sonic and thematic journey to the heavens, a reaction to and escape from the insanity of these times. The transatlantic band has brought some 80s vibes into the cinematic mix of psych-rock and folk sounds and expanded their sonic palette using the same stellar cast of collaborators including singers Ebbot Lundberg (The Soundtrack of Our Lives, Union Carbide Productions), David Schelzel (The Ocean Blue), Bristolian chanteuse Helen White and musicians including the ‘Bristol Wrecking Crew’ of Alex Lee, Sean Cook and Damon Reece on guitars, bass, and drums. They also have new and sublime contributions from James Bagshaw of British psych-rockers Temples and gorgeous vocals from Martin Barnard from Jenks’ 90s combo Alpha.

MuMu – “The Bitch in Me”: An empowering queer anthem with a slow tempo turning into some explosive moments. It’s also a punchy song about clashing personalities and what happens when you give in to your inner bitch. MuMu has shared a music video for the track, a sexy, stylized, sensory pleaser shot at Madame X (a burlesque-style lounge in NYC.). The rich, luscious decor sets the tone for a dramatic exploration of the Bitch inside. The video is the creation of Serena Dykman, director and MuMu’s childhood friend. MuMu explains, “When brainstorming this video with Serena, we talked about the way we judge people the hardest when they remind us of parts of ourselves we don’t like. So, while the song is a bitchy bitching fest, the video is about realizing my own hypocrisy. The video is a confession, an apology, a love story, and most importantly… an opportunity for me to make out with myself.” MuMu finds inspiration in all facets of life. Still, she doesn’t just want to challenge people with her music, she wants to inspire, uplift, and move. “Women are sometimes confusing, and they’re complicated,” she says. “My music is a window into that experience. But it’s also fun… it’s pop. And if the message is too much for someone at that time, hopefully, they can just dance.” Expect more music from MuMu coming soon via InKind Music/The Orchard.

Betty Who – “Blow Out My Candle”: While being ‘80s-inspired, the track is a catchy ode to perseverance, with a chorus that activates the dancefloor. “You can blow out my candle, but you’ll never put out my fire,” she sings in the chorus. It gave me some Flashdance meets Katy Perry vibe, and this is even more obvious with the video for the song, directed by Tyler Cunningham: it finds Betty embracing the ‘80s aesthetic as she dances around in a Jamie Lee Curtis-inspired workout leotard, sweatband, and high socks as she sings about self-confidence and love. “It’s been a long couple of years for all of us. I spent my time off learning to bake (of course)… and incessantly thinking all day and all night about what kind of music I wanted to return with. “Blow Out My Candle” is the story I want to share most. The feeling I held onto in the darkest moments of the last couple of years. I hope it gives you the confidence and motivation it gives me,” says Betty Who on the single. Betty has also partnered with the nonprofit organization in its voting registration efforts for the month of Pride. Betty previously performed at the 29th Annual GLAAD Media Awards in 2019 and is a frequent collaborator with the nonprofit, as well as with The Trevor Project, whom she worked with on previous tours. GLAAD has declared this Pride month as a month of action and is rallying with the community to make sure everyone is registered to vote in the midterm elections. Betty Who is also working in tandem with GLAAD to fight against the anti-trans and anti-LGBTQ legislation by getting record numbers of people to get out and vote. You can pledge to vote here. In partnership with GLAAD, the song will serve to be a vehicle for change and drive awareness for the GLAAD Vote with Pride program that looks to increase voter turnout. Keeping with the theme of the song, she also has also released a Betty Who candle, with a percentage of the proceeds going to GLAAD, the world’s largest LGBTQ media advocacy organization. The candles are available for purchase HERE.

Ben Zaidi -“Listless”: An emotive song with fragile vocals and virtuosity in the folk melody on guitar (plus the addition of a collection of subtle noises) while the lyrics are packed with personal reflections on death and growing up in times of turmoil. This is a song taken from Ben Zaidi’s highly anticipated debut album “Acre of Salt,” released on June 3 and produced by Tony Berg (Phoebe Bridgers, Peter Gabriel, Beck). Berg shared his experience working with Ben, “With traces of the qualities I’ve always responded to—Phoebe Bridgers’ lyricism, Andrew Bird’s sneaky virtuosity, and Fiona Apple’s unpredictability—Ben gently turned my studio upside down with a point of view subversively his own.” Watch the video for the song. “It was midnight on a cold Saturday night. We pulled into the tiny town of Forks, Washington,” Zaidi explains. “We had been shooting since 4 AM that morning… Exhausted, we pulled into the unassuming Forks Motel, desperate to get a place for a few hours of rest before another full day of shooting. No vacancy. Stunned, we pulled up to another dingy-looking motel. No vacancy. Again and again—all eight motels in this tiny town were inexplicably fully packed… As I climbed back in the car to begin a bleary-eyed two-hour drive to Port Angeles, I thought back to when Evers, the director of the ‘Listless’ music video, told me his concept—that we would get lost while making the video, and let life imitate art. I didn’t know it would be so literal.” The album was recorded at Los Angeles’ iconic Sound City Studios along with backing band members Ethan Gruska, Sebastian Steinberg (Fiona Apple,) saxophonist Sam Gendel and Kane Ritchotte (Portugal. The Man.) Born and raised in Seattle, Zaidi is a Harvard-educated poet whose debut album explores a variety of themes: death, racial identity, quarter-life changes and the loss of innocence that comes with a rapidly decaying planet. Growing up with a lot of Northwest music influences, ultimately lyric-heavy albums such as Bob Dylan’s The Times They Are A-Changin’ and The Freewheelin Bob Dylan, as well as Joni Mitchell’s Blue, were in heavy rotation while writing his new album. Much of the record was influenced by a long drive down I-95 from Brooklyn to Florida to visit a friend who had been diagnosed with Stage IV non-Hodgkin’s lymphoma and going through chemo. “And that obviously was the first smack in the face of, ‘Oh, we’re not invincible anymore’ It’s not like, ‘Oh our whole life is ahead of us stretching out in front of us,’ but instead there is certain frailty that this is all precariously balanced on. And I think the album’s grappling with that.”

T Bone Burnett –“Realities.com”: An intense and experimental song with pounding, throbbing beats and commanding vocals coming either from an authoritarian figure or a prophet of the future. The second installment of “The Invisible Light” trilogy by trio T Bone Burnett, Jay Bellerose, and Keefus Ciancia is set for release on August 5, while the trilogy’s first installment—”The Invisible Light: Acoustic Space”—was released in 2019 to critical praise. The Invisible Light is a fusion of trance, electronic, folk, tribal, and global music. At the heart of this trilogy is technology and how it has advanced significantly throughout the course of the last century, with radio, film, television, and the internet serving as central parts of our lives. In acoustic space, people hear from every direction at once, the center is everywhere, and there is no border. Burnett most recently released “Acoustic Space,” the first full-length installment in “The Invisible Light trilogy,” an experimental song cycle that explores the idea that society has been subject to a programming pandemic that is causing us to lose our ability to differentiate fact from fiction. Grammy-and Oscar-winner T Bone Burnett also composed and produced the music for the critically acclaimed HBO series “True Detective,” and his film work includes the five-time Grammy-winning soundtrack for “O Brother, Where Art Thou?,” “The Big Lebowski,” “Cold Mountain,” “The Hunger Games, “ “Crazy Heart” and “Walk The Line,” among others. He has collaborated with numerous artists including Bob Dylan, Elvis Costello, and Roy Orbison, and won Album of the Year and Record of the Year Grammy Awards for Robert Plant and Alison Krauss’ Raising Sand. Jay Bellerose is a percussionist best known for his live performance work. His drums and percussion credits include work with renowned artists such as Elton John, Leon Russell, Allen Toussaint, Ray LaMontagne, Gregg Allman, Regina Spektor, Willie Nelson, Allison Krauss, Robert Plant, Bonnie Raitt, Joe Henry, and Loudon Wainwright III. Artist, composer, producer, and musician Keefus Ciancia has worked with a range of artists including Kimbra, Nikka Costa, Benji Hughes, and Cassandra Wilson. Together with Jade Vincent, he formed The Jade Vincent Experiment, an experimental film-noir band that led them to connect with T Bone Burnett after he heard their performance on KCRW. Ciancia and Burnett’s relationship blossomed, the two collaborating on several projects including HBO’s “True Detective” and The Coen Brothers’ “The Ladykillers.”

Brandi & The Alexanders – “Fire”: A high-energy, bluesy track with ‘70s-style sweeping R&B arrangement, empowering beats, and Brandi Thompson’s soulful powerhouse. The song has Brittany Howard meets Sharon Jones vibes and is indeed on fire. NYC-based genre-bending soul-rock 5-piece Brandi & The Alexanders have shared this first track taken from their next EP, “Reflection, “ slated for a September 2nd release. On the story behind the song, lead singer Brandi Thompson shares: “The spring of 2020, a second Civil Rights Movement overwhelmed the United States. I was as swept up in the movement as anyone, but I decided to write a song to not just stand against the brutality that was happening that spring but to remind my listeners that this brutality and discrimination is not new; my ancestors survived similar brutality and discrimination – like that which we saw in 2020 and the many years prior – for centuries. I’m proud to be a product of the ancestors who survived generation after generation; their strength is my strength, and I wrote this song to honor them. As the saying goes, I am my ancestors’ wildest dreams. Theirs are the shoulders on which I stand and which have gotten me where I am today.” Powerful and empowering, cinematic and larger than life, “Fire” strikes a match for the group’s powerful upcoming EP. Reflection is a slowly crafted EP that is a step forward in Brandi and the Alexanders experimentation in music and sonics, a time capsule of a strange period, and an autobiography about self-reflection, self-doubt, and identity.  It is filtered by months of recording and communication in isolation, protests, Tina Turner records, trading mixtapes, late-night debates, 70’s gangster movies, and literal blood sweat, and tears. A must-listen for fans of Alabama Shakes, Brittany Howard, The Black Keys, Durand Jones and the Indications, Adia Victoria, Devon Gilfillian, Seratones, Lady Wray, and Black Pumas.

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