Credit: Nina Herzog
Thursday, June 9, 2016
Leland Sundries photos by Nina Herzog
Click for high res. Must use credit for all reprints, please.
Credit: Nina Herzog
Credit: Nina Herzog
Credit: Nina Herzog
Credit: Nina Herzog
Tuesday, June 7, 2016
Thursday, June 2, 2016
FRONTMAN PETUNIA OF PETUNIA & THE VIPERS BEGAN HIS MUSIC CAREER WITH SEVEN YEARS OF BUSKING AND DECADE OF HITCHHIKING, CARRIES LESSONS FORTH TO STAGE
NEW VIDEO FOR “CHAINED” FILMED IN MEXICO FROM NEW ALBUM ‘DEAD BIRD ON THE HIGHWAY’
PLAINS TORNADO LED HIM TO GIVE UP HITCHHIKING
Petunia & The Vipers emerged from Petunia’s career as a full-time busking musician and part-time poker player, performing on street corners and subway stations across both Canada and America for seven years, traveling by hitchhiking. He carries busking lessons with him on the stage in terms of his sense of being present in the moment when on stage as well as his vocal projection and thick skin.
Here’s the newly-released video for “Chained,” filmed in Mexico, from the new Petunia & The Vipers album ‘Dead Bird On The Highway.’ Petunia plays a love-struck busker.
Once a punk rocker in his adolescence, Petunia played mostly classic country repertoire by the likes of Hank Williams, Johnny Cash, The Carter Family, and Jimmie Rodgers. Ultimately, he gave up the life due to play stages and to encourage longevity within his career. He says, “One can't really get known on the street but onstage there's press publicity. The street is great but here today gone tomorrow.”
Also facilitating the end of his busking was stumbling on a car. He recalls, “I was hitch hiking from Saskatoon, SK to Dauphin, MN and I had already hitched through three thunderstorms that day and been on the road five hours already, so I was ready to get out of my ‘spot’ and make it to Dauphin Country Fest where I was going to be a guest in my friends' set [the D-Rangers] opening for Tanya Tucker. Two foreign firemen took me to a gas station on the outskirts of Churchbridge, SK. I got out and gazed at the highway ahead of me on the open prairie. Then turned to face the highway behind me where the rides come from. There weren't any in sight, only a long line of thin clouds rolling ever so slowly closer and closer. Above those, another row of clouds glued to the first row, right across the horizon as far as the eye could see. To my left the gas station and a car for sale for $400. As I watched the clouds creep closer in the silence of the sunny hot afternoon, I yelled over to the teenage gas attendant ‘if I'm still here in 10 minutes I’d like to buy that car.’ The wind was picking up 5 minutes later. I didn't know it at the time, but I was in for a little prairie tornado'n...” and one of his many stories continues…
PLAINS TORNADO LED HIM TO GIVE UP HITCHHIKING
Petunia & The Vipers emerged from Petunia’s career as a full-time busking musician and part-time poker player, performing on street corners and subway stations across both Canada and America for seven years, traveling by hitchhiking. He carries busking lessons with him on the stage in terms of his sense of being present in the moment when on stage as well as his vocal projection and thick skin.
Here’s the newly-released video for “Chained,” filmed in Mexico, from the new Petunia & The Vipers album ‘Dead Bird On The Highway.’ Petunia plays a love-struck busker.
Once a punk rocker in his adolescence, Petunia played mostly classic country repertoire by the likes of Hank Williams, Johnny Cash, The Carter Family, and Jimmie Rodgers. Ultimately, he gave up the life due to play stages and to encourage longevity within his career. He says, “One can't really get known on the street but onstage there's press publicity. The street is great but here today gone tomorrow.”
Also facilitating the end of his busking was stumbling on a car. He recalls, “I was hitch hiking from Saskatoon, SK to Dauphin, MN and I had already hitched through three thunderstorms that day and been on the road five hours already, so I was ready to get out of my ‘spot’ and make it to Dauphin Country Fest where I was going to be a guest in my friends' set [the D-Rangers] opening for Tanya Tucker. Two foreign firemen took me to a gas station on the outskirts of Churchbridge, SK. I got out and gazed at the highway ahead of me on the open prairie. Then turned to face the highway behind me where the rides come from. There weren't any in sight, only a long line of thin clouds rolling ever so slowly closer and closer. Above those, another row of clouds glued to the first row, right across the horizon as far as the eye could see. To my left the gas station and a car for sale for $400. As I watched the clouds creep closer in the silence of the sunny hot afternoon, I yelled over to the teenage gas attendant ‘if I'm still here in 10 minutes I’d like to buy that car.’ The wind was picking up 5 minutes later. I didn't know it at the time, but I was in for a little prairie tornado'n...” and one of his many stories continues…
Wednesday, June 1, 2016
LELAND SUNDRIES PLOTS FULL BAND TOUR AMIDST RAVES FROM PASTE, AMERICAN SONGWRITER, UNCUT, MOJO
PRAISE FROM UNCUT, MOJO, PASTE, & BEYOND AS LP AS 1ST ALBUM ‘MUSIC FOR OUTCASTS’ OUT THIS WEEK ON L’ECHIQUIER / DÉCOR / WEINER RECORDS
Brooklyn indie/Americana/garage band Leland Sundries has traveled a
long road – through its frontman Nick Loss-Eaton’s open-heart surgery –
but that road will soon include 5,000 more miles in a van.
Alternately evoking comparisons to ‘Mermaid Avenue’ albums and The
Modern Lovers, the band has been spotlighted in MOJO, American
Songwriter, CMJ.com, Impose, Mix, Paste, Metro London, and Huffington
Post. UNCUT called ‘music for outcasts’ “heaps of wit and melody.”
Impose named it “superb.” NYC’s Little Water Radio opined, “It’s
great.” Pure Volume weighed in, “We were instantly hooked. In fact,
we're so impressed by the Brooklyn-natives to the point where we can't
begin to effusively begin to heap enough praise.”
The tour kicks off in the band’s Brooklyn backyard and other
highlights include two nights in Nashville, TN, a show in the Boston
area near Loss-Eaton’s hometown, and a slot at the Green River Festival
the same day as Dawes, Shovels & Rope, and Shakey Graves.
‘music for outcasts’ is out worldwide on Friday as a stream, download, CD, LP, and cassette.
Leland Sundries ‘music for outcasts’ Tour Dates:
June 15 - Brooklyn, NY – 603 @ Silent Barn (w/ the North Country)
June 17 - Norfolk, VA - 80/20 Burger Bar
June 18 - Charlottesville, VA - Ante Room
June 19 – Hillsborough, NC – Nash Street Tavern
June 20 - Raleigh, NC - Slim's (w/ The Antique Hearts)
June 21 - Valdosta, GA - Ashley Street Station
June 22 - New Orleans, LA - Saturn Bar (w/ The Lonely Lonely Knights, Rudy Stone)
June 23 - Austin, TX - Indian Roller (w/ Texas Never Whispers)
June 25 - Memphis, TN - Shangri-La Records
June 28-29 - Nashville, TN - The Family Wash
July 1 - St. Louis, MO – Gaslight Lounge
July 2 - Chicago, IL - The Township (w/ The Dirty Dirty Dollars)
July 5 - Rochester, NY - South Wedge Mission
July 6 - Somerville, MA - Once Lounge (w/ Ron Gallo, Julie Rhodes)
July 7 - Providence, RI - Dusk (w/ Andy Lampert)
July 9 - Greenfield, MA - Green River Festival (w/ Dawes, Shovels & Rope, Shakey Graves)
Friday, May 27, 2016
Wednesday, May 25, 2016
THE CREAMERY STUDIO RELEASES MIXTAPE OF LIVE-TO-TAPE RECORDING SESSIONS W/ NOTABLE BROOKLYN ARTISTS
On June 3, Brooklyn-based recording studio, The Creamery, will release
volume one of its series, The Creamery Mixtape, featuring ten
cherry-picked artists rising to the top of the Brooklyn music scene. Los
Hacheros, Alpenglow, Live Footage and Uni Ika Ai are a few of the
groups to appear. The release showcases a wide variety of the city’s
musical genres, putting them in concert under one sonic umbrella.
Producer/engineers Quinn McCarthy and Jeff Fettig, who operate the studio, took the project on almost as a dare. Over a short three-day period during this year’s CMJ music festival in New York, each of the ten groups came through the studio in three hour slots to record a few songs, live to tape.
“It was about finding the right groups who could play and have a sound,” Fettig recalls. McCarthy followed, “We made up our minds before we even started that this wasn’t going to be about producing each band and each song to sound its ‘best.’ Studios are always trying to market their mixes as ear candy. Of course, pushing a band to its stylistic apex is a skill and it’s a logical goal, but so many of the records we love aren’t about technical perfection, it’s about capturing a creative performance and an artistic vision.” The songs were recorded in this way to capture the spontaneous and organic feel of live recording, with the goal of creating a listening experience that blends modern artists with old-school recording styles.
To help create a sonic palette that united each artist, McCarthy and Fettig encouraged them to share instruments and gear with each other, utilizing the same drum set and amplifiers used on a salsa number and for an electronic duo. For the most part, the bands played to the vibe of the room without headphones. Though often an uncommon philosophy, for this session they felt that bleed between instruments is not only ok, but a basis for the sound, with every mic in the room also doubled as a ‘room mic.’ The sounds went straight into their 1985 Tascam MS-16 Tape Machine with minimal mixing in post, leaving nearly everything as it sounded in the room.
The Creamery Mixtape trancends genre and trend, it carries the energy of the studio and the honesty of the moment. It’s as fun to listen to as it was to record.
Featuring: Wolf!, Alpenglow, Los Hacheros, Miay Folick, Uni Ika Ai, Tim Porbaix, Toebow, Vassals, Live Footage, and Whitney Lockert.
Producer/engineers Quinn McCarthy and Jeff Fettig, who operate the studio, took the project on almost as a dare. Over a short three-day period during this year’s CMJ music festival in New York, each of the ten groups came through the studio in three hour slots to record a few songs, live to tape.
“It was about finding the right groups who could play and have a sound,” Fettig recalls. McCarthy followed, “We made up our minds before we even started that this wasn’t going to be about producing each band and each song to sound its ‘best.’ Studios are always trying to market their mixes as ear candy. Of course, pushing a band to its stylistic apex is a skill and it’s a logical goal, but so many of the records we love aren’t about technical perfection, it’s about capturing a creative performance and an artistic vision.” The songs were recorded in this way to capture the spontaneous and organic feel of live recording, with the goal of creating a listening experience that blends modern artists with old-school recording styles.
To help create a sonic palette that united each artist, McCarthy and Fettig encouraged them to share instruments and gear with each other, utilizing the same drum set and amplifiers used on a salsa number and for an electronic duo. For the most part, the bands played to the vibe of the room without headphones. Though often an uncommon philosophy, for this session they felt that bleed between instruments is not only ok, but a basis for the sound, with every mic in the room also doubled as a ‘room mic.’ The sounds went straight into their 1985 Tascam MS-16 Tape Machine with minimal mixing in post, leaving nearly everything as it sounded in the room.
The Creamery Mixtape trancends genre and trend, it carries the energy of the studio and the honesty of the moment. It’s as fun to listen to as it was to record.
Featuring: Wolf!, Alpenglow, Los Hacheros, Miay Folick, Uni Ika Ai, Tim Porbaix, Toebow, Vassals, Live Footage, and Whitney Lockert.
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