Monday, September 26, 2016




Tickets On Sale Friday, September 30 at 10am PST



Last week, Attila issued a "Public Apology," which was the first song released from their new album CHAOSThe band is following up with another new track, titled "Ignite." Listen to it here.

CHAOS is out November 4. Fans who pre-order the album digitally will receive both "Public Apology" and "Ignite" as instant grat tracks. 

Attila frontman Fronz spoke about how CHAOS is return to Attila's roots, saying, "We sat down in a room together and asked, 'What did we do when we wrote the first few albums that we don't do anymore?' We realized the thing we'd stopped doing was getting together and jamming in a basement. It's so easy for bands to sit around a computer and create music. It's too easy to forget to jam the songs in person, on real instruments."

He continued, "Everything about CHAOS is real, because we all met up in Georgia, right near the basement where we used to meet up when we were living off Taco Bell."
1. Ignite
2. Bulletproof
3. Public Apology
4. Obsession
5. Moshpit Feat. Ookay
6. Rise Up
7. Lets Get Abducted
8. Legend
9. Queen
10. All Hail Rock And Roll
11. King
Ahead of the release of CHAOS, the band will hit the road with Chelsea Grin, Emmure, and Sylar for a fall headline tour. Dates are below. Tickets are available here.

10/18 — Charlotte, NC | The Underground
10/19 — Philadelphia, PA | TLA
10/20 — Clifton Park, NY | Upstate Concert Hall
10/21 — Worcester, MA | The Palladium
10/22 — Sayreville, NJ | Starland Ballroom
10/23 — Baltimore, MD | Baltimore Soundstage
10/25 — Cleveland, OH | House of Blues
10/26 — Chicago, IL |  House of Blues
10/28 — Cincinnati, OH | Bogarts
10/29 — St Louis, MO | Pop's
10/30 — Lawrence, KS | Granada Theatre
11/1 — Salt Lake City, UT | The Complex
11/2 — Sacramento, CA | Ace of Spades
11/3 —  San Diego, CA | House Of Blues
11/6 — Las Vegas, NV | Vinyl
11/7 — Pomona, CA |The Glasshouse
11/8 — Phoenix, AZ | Livewire
11/9 — El Paso, TX | Tricky Falls
11/10 — Albuquerque, NM | Sunshine Theatre
11/11 — Dallas, TX | Gas Monkey Live
11/12 — San Antonio, TX | Paper Tiger
11/13 — Houston, TX | Warehouse
11/15 — Atlanta, GA | The Masquerade
11/16 — Orlando, FL | The Beacham
11/17 — Ft Lauderdale, FL | Revolution
11/18 — Tampa, FL | The Orpheum






Memphis May Fire have premiered the title track from their fourth albumThis Light I Hold via SiriusXM's Octane. The song features Papa Roachsinger Jacoby Shaddix, who also plays a major role in the video. Watch the unforgettable video for "This Light I Hold" here.

The clip plays out like a mini movie with Shaddix as the victim of an apparent kidnapping for which MMF frontman Matty Mullins stands accused. The vocalists trade lines throughout as the courtroom drama builds to a thrilling climax. Be sure and pay close attention to another special guest appearance that's revealed at the end of the video.

 "We couldn't be more excited about the release of 'This Light I Hold,'" said Mullins. "Jacoby was the perfect fit as a guest vocalist on this track and I believe it's some of our best work to date!"

The Light I Hold is out October 28 through Rise Records.

Memphis May Fire will soon hit the road for the Rise Up Tour w/ label-mates The Devil Wears Prada, Silverstein & Like Moths to Flames. Dates are below.


10/11 — Denver, Colo. — Ogden Theatre
10/13 — Chicago, Ill. — Bottom Lounge
10/14 — Toronto, Ontario — Opera House
10/15 — Cleveland, Ohio — Agora
10/16 — Pontiac, Mich. — Crofoot Ballroom
10/18 — Philadelphia, Pa. — Electric Factory
10/19 — New York, N.Y. — Webster Hall
10/20 — Worcester, Mass. — The Palladium
10/22 — Raleigh, N.C. — The Ritz
10/23 — Atlanta, Ga. — Masquerade
10/24 — Nashville, Tenn. — Rocketown
10/26 — Memphis, Tenn. — Mingelwood Hall
10/27 — Houston, Texas — Warehouse Live
10/28 — Dallas, Texas — The Door
10/29 — San Antonio, Texas — Alamo City Music Hall
10/31 — Mesa, Ariz. — Nile Theatre
11/1 — San Diego, Calif. — SOMA
11/2 — Pomona, Calif. — Glasshouse
11/4 — Berkeley, Calif. — UC Theatre

This Light I Hold Track Listing

"Out of It"
"Carry On"
"Wanting More"
"Sever the Ties"
"The Enemy"
"This Light I Hold" (feat. Jacoby Shaddix)
"That’s Just Life"
"Letting Go"
"The Antidote"
"Better Things"
"Not Over Yet" (feat. Larry Soliman)
"Live It Well"


The band premiered the song "Carry On" via BBC 1. Watch the conceptual lyric video here.


In the aggressive rock world, Memphis May Fire has become a household name. With over 300,000 albums sold in the U.S. to date (their previous release debuted at #4 on the Billboard top 200), they’ve toured the world with acts that include Killswitch Engage, Of Mice & Men, Sleeping With Sirens, and Yellowcard. The band is continuously striving to reach new heights & their diehard fan base has been backing them up the entire way.

Sunday, September 25, 2016

Interview with Jonathan Graves of Corbu

Something in The Sound of Corbu Makes Them Today's Modern Experience

with Song River

If lucid is to dreams what notes are to music then Corbu's music would be the physicality of experiencing a mood in its totality. Their sound is a total body/soul experience.

Song River: Would you consider your sound to lean towards ambient meant to create a flow or mood- even though there is at times a very consistent beat to your music.
Jonathan Graves:  Theres an ambient component to what we do, for sure. Some of my favorite albums are Aphex Twin’s Selected Ambient Works II and Brian Eno’s Ambient 4: On Land. Boards of Canada’s The Campfire Headphase was a really important record for me, too. I think the overall mood a song creates is just as important as its melody and lyrics. Sometimes lyrics can feel like decoration - the sound and the chords carry a lot more of the “meaning."

SR: Listening to your album there seems to be a definite harmonizing cohesiveness in its presentation and creation.  How much is this projection musically a reflection of who you are as individuals?
Jonathan Graves: It's a reflection of who we are and what we love, as people. We like watching space documentaries, listening to the Radio Dept. and being closet hippies, which have all influenced the tone of the album. 
There’s a part of me that really wants to make a hip-hop record, and has no interest in playing guitar or acoustic drums. Maybe that will come next?

SR: Two successful EPs have given way to this now full length album, Crayon Soul. What was the catalyst that lead Corbu to do a full length now? 
Jonathan Graves: I’ve always taken the concept of an “album” really seriously, and I never wanted to make one until I thought the music was good enough. Some artists release a dozen of them while they’re still figuring out their sound, but you only get one debut album, and I wanted to be proud of it. We just didn’t have the ability, the resources or the people around us to do that until now. I’m really happy we waited.

SR: Is this album, would you say, an unusual album nowadays in the mix of music lyrically, instrumentally and in video production? 
Jonathan Graves: I think the concept of the “album” is in a weird place, with songs being listened to mostly in play lists and in rapid-fire mode on Spotify. People have been saying “the album is dying/the album is dead” for as long as I can remember, but there's a reason it keeps holding on. My favorite albums are like movies - they’re all-inclusive universes that you can get lost in. Every piece of artwork you see from them is like a transmission from another world. Those records have gotten me through life, basically, so when it was our turn, I wanted to try to create that experience for other people. 

SR: Noticing the songs/videos are being listed as 'Episodes'- talk about this idea and its execution.
Jonathan Graves: We wrote a whole story to go along with the album, like a movie in our heads. Each song is a different scene. It’s not something we set out to do at all - I would probably laugh at someone if they suggested it a couple years ago. 
We were about 85% done with the record, and one night Amanda and I both realized we had a story. We’ll probably never get to make the whole animated Crayon Soul movie, but we 

SR: You worked with Daniel Cordero for video artwork, correct?  How did this what almost seems a very simpatico relationship come about? 
Jonathan Graves: We worked closely with Daniel on everything, passing artwork back and forth and iterating the character designs together. He based the videos off of our colors, our story and our world, but took it in his own direction and made it come alive. I can’t give him and his team enough credit. 
Imagine a client telling you, “Okay, so these creatures called Time Beings have geometric shapes for heads, and they’re running away from an evil dark liquid that’s trying to eat the Universe.” I would email things like this to him, and he would understand me and get it perfect on the first try.

SR: Would you say this album is a complete story, or is there more to come that could perhaps connect it to others coming?
Jonathan Graves: Our focus is always on writing the songs in our heads, before anything else. Once the next record is close to finished, it will tell us how it wants to be presented. 
In some way, though, what we do in the future will always connect with the past.

SR: How important is story-telling to you both?
Jonathan Graves: I think “stories” are important, and all my favorite albums tell one in a really abstract way, but we never set out to tell an actual narrative. We just noticed that one was sitting there in front of us. It’s funny, people talk about this album being a concept record (it’s not), and ask us about prog rock. We never listen to any of that stuff, even though we do love the artwork from it. This is never something we intended to do; it just happened. Part of me always wanted to make movies, so maybe that’s coming out in this way.

SR: Do you think people seek out your music to make them feel better, more comfortable or is there meant to be comfort found in the message both auditory and visually? 
Jonathan Graves: When someone is feeling bad, the best thing you can do is to empathize and say, “I know, it really sucks. I’m sorry.” That’s more effective than trying to cheer them up, or find a solution, etc. 
I think people need mirrors. They need to find resonance with something outside of themselves, so they don’t feel alone or crazy. If someone likes our music, it’s because they relate to it. They already feel what it’s conveying, and it becomes their soundtrack. Music that you love says, “I feel this too,” in a million different ways. It's the same with Corbu, with metal, or anything else.

SR: For you both- when you are at the inception point of creating a song... describe the process from beginning to end. 
Jonathan Graves: We put those sketches into playlists, and live with them forever like a internal radio station. Amanda always has her favorites, and I have mine, and over time they start to gel together into groups. Amanda helps shape the overall vibe of each song with me.
We finish the lyrics together, and then usually work with an engineer to record the bigger pieces of audio, like the final vocals or the live drums. Todd plays drums in the studio and improves on whatever idea I have going, and then we mix it with someone we love, like Dave Fridmann or Jake Aron. Friends are always involved, at every stage. We used to be a bigger “live band,” but those guys are still around, still adding ideas and giving us perspective.

SR: And a curiosity question, how much does synthesia play in the creation of your music? 
Jonathan Graves: It’s the way I make sense of music, I think. Every sound has a visual side to it in my head.
When people work on film soundtracks, they’re staring at a moving image and trying to describe/amplify its mood with the music. That’s the same thing I do internally. A few months ago, I was working on a graphic design piece and it put a song in my head, so I had to stop and record the acoustic guitar and vocal for it. 
I’m trying to create an experience or a feeling with a song - the more dimensions I can give it, the better.

SR: Corbu has  Austin City Limits Festival in late September/early October.  Where and how do you think Corbu fits into the festival scene?
Jonathan Graves: I honestly don’t know yet, since this is our first festival ever. I imagine the toms from “Polygon Forest” or “Better Better Off" would sound great on a huge system, laying in the grass somewhere. It can be a fun challenge to win new people over, like when you start a gig and no one’s into it… but by the middle of the set, everyone’s with you. We’d love to play more festivals and see how we fit into all of it.

SR: Dreams can lead us to places we've never imagined. How have they influenced what you've created, the structure behind the whole experience that is Corbu and what so far has been the general public's response?
Jonathan Graves: Ive always wanted Corbu to be a thing that pulls you out of your everyday life, out of your email and your bills and your work. I dont think of that as escapism. In a way, I think dreams are more real” than the world you experience when you're staring at your computer all day. I don't know how people feel about all that, but if our music makes anyone's life better in any small way, I'm happy.

Corbu More Information:
Facebook // Twitter // Instagram //

Crayon Soul Album 



Blackjazz trailblazers SHINING have revealed a brand new video for "House of Control," a track from their current studio album, International Blackjazz Society, released late last year through Spinefarm Records.

"It's so great to finally have a video for our song 'House of Control,' since it means so much to me," explains Shining frontman Jørgen Munkeby. "Not only are the lyrics very personal, but musically the track was also a bold step into a more varied and melodic landscape. We had no idea how that new direction would work out, but it has ended up being my favorite track off the album. I had so much fun shooting the video, and I'm very happy to present this steaming hot new clip!"

Watch the video for "House of Control" here

Viral Internet sensation STEVE'N'SEAGULLS have yet again taken the bluegrass world by storm, with their new album Brothers in Farms. So much so that the album is currently sitting at No. 1 atop of The Billboard Bluegrass Chart!

Brothers in Farms sees the band offering their unique takes on classics from Iron Maiden, Metallica, Guns N' Roses, Nirvana, Megadeth, and more.

The band's North American tour starts tonight in Brooklyn and runs through October 8 in Brighton, CO.  Don't miss your chance to get down and dirty with the 'Gulls on the Brothers in Farms Tour this fall!


9/23 — Knitting Factory | Brooklyn, N.Y.
9/24 — Rowdy on the Roof | Cumberland, Md.
9/25 — Haymarket Whiskey Bar | Louisville, Ky.
9/26 — Cosmic Charlie's | Lexington, Ky.
9/27 — The Hi-Fi | Indianapolis, Ind.
9/28 — Duck Room | St.Louis, Mo.
9/29 — George's Majestic Lounge | Fayetteville, Ark.
9/30 — Oklahoma International Bluegrass Festival | Guthrie, Ola.
10/1 — The Riot Room | Kansas City, Mo.
 10/2 — 7th Street Rascals Live | Moline, Ill.
10/4 — Vaudeville Mews | Des Moines, Iowa
10/5 —The Frequency | Madison, Wis.
10/6 — Rose Music Hal |, Columbia, Mo.
10/7 — O'Leaver's Omaha | Neb.
10/8 —  The Armory Performing Arts Center | Brighton, Colo.

Wednesday, September 21, 2016

Interview with Eyes Eat Suns: Ayisa Adderley

With Song River

Eyes Eat Suns is an American alternative rock band from Raleigh, NC. Their first EP, “POW!” came out in 2015 and was quickly followed up by their next EP, “Alive” in June of this year. The albums first single, “Priceless Faces” is out now on iTunes.Catch Eyes Eat Suns out on tour!

Song River: Looking back to the beginning of Eyes Eat Suns- there has to have been a catalyst that lead you to this artist outlet, what was it?

Ayisa Adderley: Attending Warped Tour for the first time was definitely the catalyst for EES. I had already been writing and performing, but this experience definitely inspired me to make necessary changes.

Song River: In those earlier days where did your source of encouragement come from to keep the  music dream alive?

Ayisa Adderley: I sourced it mostly from my inner demons. I was unhappy working 60-70 hours a week in a retail store, where the days were always the same. I was unhappy sitting at a desk listening to professors talk to me about people who were outside those walls living their lives. I wanted to be the person the professor was talking about, I wanted to be outside of those walls experiencing my life and I knew (with music) I could do that.

Song River: Therapy comes in many forms. Music certainly has had a huge influence over society since the beginning of humankind. How has music changed or developed you as individuals?

Ayisa Adderley: It helps with reflection. If something happens, I write a song. It's a good way of dealing with emotions you would otherwise be afraid to deal with.

Song River: Use this platform to those who haven't heard you yet, who you are, why your sound is something they not only need, but want.

Ayisa Adderley: I would say it's just artists trying to share our stories in the hopes of helping someone else deal with their own demons in life. If we help at least one person, then that's all we could really ask for.

Song River: What have been some of the connections you all have made through your music to friends, family and fans?Ayisa Adderley: Family has always been there. Friends come and go, the fans grow. It's a roller coaster. But, we have made some really cool connections throughout the process and have made some of the best friends I couldn't have met otherwise.

Song River: Your first EP, "POW!" was released in 2015. Who did you all work with on its production and recording?

Ayisa Adderley: For the most part it was self produced, but we did work with a sound engineer, Sid, who lived in NC at the time.

Song River: In June of this year, you worked with producer James Paul Wisner to create your second studio EP, "Alive." How was it working with him?  

Ayisa Adderley: it was great! He definitely helped shape the sound and helped us achieve what it was we wanted out of the EP, if not exceed those expectations.

Song River: With the release of your single, 'Priceless Faces' off your sophomore EP, talk about the process of choosing this as your first single, and the filming/production side of the song.

Ayisa Adderley: We wanted to lead with the most lighthearted of the tracks. It's fun and upbeat and it's a good transition song---from the old stuff to the new. It's a song about life and trying to figure it out. We filmed with Jonathan Ho, Director. He helped shape the vision of the video; keeping it very candid and keeping all the focus on the artist trying to figure out life.

Song River: DIY is this generations born and bred mantra. Is independence truly valuable in maintaining one's own sense of self worth? 

Ayisa Adderley: Independence is cool but being a DIY band is not easy, though a lot of people can do it, It's hard to do it well. And when you remember that it's hard to do it well, you can lose sight of yourself. You have to really want something and have a vision in order to maintain self worth. Independence is nice, but if you don't have an idea of your own self worth going into it, then once you lose your independence, then you lose that too.

Song River: With festivals like Warped Tour, Weenie Roast and working just recently in having a bit in the video for To Write Love On Her Arms during suicide awareness month this past September it is obvious you've a tenacious desire to live your dreams.  First, if you were to sum up this ride since 2013 how would you?  Next, for those young bands still talking about what it is they want to create and what they want to do... what would you tell them?

Ayisa Adderley : If I could sum up the ride I would say it had a lot of lows and highs and it was both exhilarating and nauseating in a good way. My advice to anyone who wants to pursue the same path: Work hard and become exponential at time management. Be 30 steps ahead always. Be kind, be honest. Don't forget to breathe and don't forget to make time to de-stress!

"Priceless Faces"

Tuesday, September 20, 2016

Interview: Precious Child and the Magic Connection with Neil Gaiman

Interview: Precious Child
With Song River

When Dark Rock meets Cinematic Soundscapes something otherworldly appears. Precious Child's recent album, “Escape” is an auditory and visually present wrapped in an almost removed dysfunctional manner. An industrial art form as a cohesive project almost seems childlike in many ways... Alice would have called the music her own. It is a breath into Wonderland.

Song River: Would you describe the arts as chaos with an order?

Precious Child: I view the arts as a presentation of arbitrarily ordered chaos. The arts create the shape for our abstract experiences. I can’t fill a bucket up with my hate or heartbreak or mirth but I can play you a song or write a poem. When they connect, the impact of the arts is only vaguely quantifiable but in that connection, we receive an order. Confusion is an essential aspect of our nature and the arts provide us shape for our confusion, for our chaos.

SR: When you create do you ever feel like the end result is almost like your own child? 

Precious Child: First of all, I will never have children. I am a genetic terminus. I live my life with a purpose and that purpose does not include breeding. I feel that my creations live outside of me. It is an eerie feeling. The energy from my art is sourced both personally and from those whom I resonate with. So, when I create, it is real and a reflection of myself in various ways. But. I feel my art is alive independently and I must serve it. What I end up serving is the connection that it has with people; that is the pièce de résistance.

SR: Viewing the state of where we are currently- in this 21st Century- a land of the tech/revolution. Do you see it has an enhancement or hindrance to your own work? 

Precious Child: Technology is highly contextual. Technology is learned, transmitted, and deployed knowledge. Technology is also social agreements to conform to various standards. A knife is a technology. Sewing is a technology. The shape of a violin is a technology. The music itself is a technology, with the organization and codification of musical language around 440hz, tempos, keys, and so on.

Some people are romantic classicists, desiring adherence to “the old way”. Some people are neo-tech hungry, accepting and utilizing new technologies at will. Does technology enable art? Hmm. Without thinking about it too much I will say that technology enables art to communicate and connect better. Good art can exist within the context of my friend who views my painting with their bare eyes but tech can show it to thousands.

Personally, I am tech hungry. I’m a wild-minded individual with intense dreams. Before I embark on an artistic endeavor I often spend a while imagining the end result. Technology helps me attain those dreams. Honestly, the way I really got into music was first by singing, and then hearing synth music. I found out that I could just learn how to use that technology… and off I went.

SR: In order for the soul to be set free, does the way we perceive ourselves in the world of music and the arts need to take on liberality that may seem not too long ago had become somewhat stifled? 

Precious Child: I think that it is the obligation of music and arts to fulfill and give shape to the aforementioned personal chaos. We look to music and the arts to help us understand ourselves. As society increasingly and hopefully becomes broader-minded the arts must move accordingly and push and provoke society to transcend. Transcendence itself is contextual. To be more. The arts must push people to be more, to create more, to desire more.

SR: I watched the video "Magic is Real" first as a film, then as a perspective prior to listening to the music. How deep did the magic moments unfurl themselves before you as you witnessed the collision of two becoming one... film and song?

Precious Child: Ah, we’re back to the separate entity. The video is a distinct work of art, sonic and visual combined. Editing the video was much like playing a song, being inside it, stretching it, little tears bleeding. I look for those moments and get the fuck out of their way when they occur.

SR: Together with the clip and the music certainly left a smile. It was inviting and warm. Magic. Do we seek to create our moments of magic or are we just missing them because we are too busy?

Precious Child: Moments of magic. Every moment is magical. We miss them not because we are too busy but because we lack faith and belief in our own incredible experience. You. Me. We are bags of star juice, wiggling about ephemerally with the incredibly accurate notion that we are the most important thing in the universe. We are indeed the most important thing in the universe because we are the universe. One tiny speck of the universe. One fragment of the hologram that when cut apart still reflects the entirety. Wait, isn’t existence itself magical? Our vision may fail to see this but magic is real as existence. It doesn’t matter if we see it or miss it; we can’t. We are magic.

SR: Talk to me about how the collaborative efforts came together with Neil Gaiman.  How did the meet-up occur?

Precious Child: 8 billion people. How do I connect with anyone that matters? That’s more stars than I can see in the sky when I’m laying on the ground in Death Valley. That grand magic that is us, that’s how. Friends of friends of friends… Improbabilities piling up. Magic stepping in.

SR: Was there something already in the works or did he give a directive to what he wanted you to pull from?

Precious Child: I was told to have at it and come what may…

SR: There seems to be a certain amount of exploration is there not between the art currently?

Precious Child: Ha, ha! Right with my last album kinda being classic alternativeish. Well, my album before that was straight up industrial. I write a lot of different types of music. I understand that people may want a simple characterization for their own personal classification but my art is broad. If I had to sum it up in one phrase I’d call it “Pop Real." Subscribe on YouTube or Spotify… there’s some surprising stuff coming out in 2016 and 2017.

SR: Are writers of great imagination fading do you feel into the stardust of the heavens? 

Precious Child: Imagination. No. Imagination is partially a talent meaning you’re born with it, but it’s also a skill. One develops the ability to create spontaneously and rapidly and violently with sustained work and effort over time. Imagination is tied to dreaming and no matter how much people strive to iron-encase our dreams we will always dream. In dreams, we can always be free. In dreams, we are star dust.

SR: Reading over the song titles from your new album, Escape, each title within itself seems to be calling to childhood memories of magical times, is Escape really about what we as adults are longing to do? That is finding our way into our own self-love and appreciation that only comes through faith, trust, and hope?

Precious Child: Hey kids want to escape to. In America, they have the liberty to play and make believe and spend more time escaping. What are they escaping from? When I was young I played make believe to escape from the perceived as stupid destiny of adult life. I was aware that it sucked and was lame. Let us pretend, to go away.

My reality, it is my dreams as much as it is the physical reality of my star juice pod. If I dream am I escaping from myself? I say no. I say that I can’t escape, but rather I am changing and altering my reality via the act of dreaming, or perhaps of escaping.

I think that the dreams of my mind are as valid as the experiences of my flesh. I urge people to dream and Escape and create that which they believe is magical. Magic is real in all of your experiences; it just waits for you to define it as such.

SR: There is a darkness to most of what is created by Precious Child. Is that one happy moment found in the song "Magic is Real" the only moment of bliss for Alice as she steps through the Looking Glass?

Precious Child: First, thank you for the excellent questions! Now my response: Happy moments. We can’t have sadness without happiness and I suggest the opposite as well. The sun shines brightest after a thunderstorm. From my song Ten Stars on the forthcoming album titled “Precious Child”-

“I finally realized that there’s no difference between beauty and pain when you wake you’ll see my blood smeared across your sky… know that it’s my contribution to your shadow’s sunrise.”

I’ll end this with the statement:

“Unencumbered bliss is only attainable via embrace of the entirety of one’s self, namely that which has your name. Your Shadow.”

Website: Precious Child