Since first emerging in 2009, JR JR have defined themselves by a commitment to making intelligent pop music. In order to do so, the pair -- Josh Epstein and Daniel Zott -- paint with an expansive palette balancing everything from indie and alternative to hip-hop and electronic music. They achieved that balance in a big way on their self-titled third full-length album, JR JR [Warner Bros. Records] which served as the culmination of their unique camaraderie and musical collaboration thus far. By the end of 2015, heavy praise from the likes of NPR, Paste, PopMatters, Billboard, The Daily Beast and more coupled with growing attention for their initial single 'Gone,' sparking the attention of a wide array of radio programmers and seeing the band performing on CONAN, KCRW's Morning Becomes Eclectic and The Late Show with James Corden.
Alongside critical success, the duo's music has also become the soundtrack of choice for many working in film & television as well, with tracks recently featured in HBO's Togetherness, trailers for Seth Rogen's Sausage Party, I Am Cait, Please Like Me, Grandfathered, iZombie, and trailers for Showtime Network. As they continue to tour widely and perform to sold out audiences their dedication to being both smart and accessible remains their guiding formula, with JR JR now at the dawn of their next chapter.
Major League Soccer: FC Dallas Home Games at Toyota StadiumFC Dallas makes their triumphant return to the field for the 2017 season, fresh off their thrilling and decisive 4-2 win over the New England Revolution in the last year's U.S. Open Cup Final. There's nothing quite like an FC Dallas match at the soccer-specific Toyota Stadium, from the festive pre-game tailgates to the passionate singing, chanting and jumping of supporters' groups like the Dallas Beer Guardians and Lone Star Legion. And that's to say nothing of the action on the field, where an explosively powerful offense and a finely balanced defense put every challenger through their paces. In 2017, sharpshooter Maximiliano Urruti, talented playmaker Mauro Diaz and their teammates are gunning for another conference-topping season, coached by former Dallas midfielder and MLS Best XI player ??scar Pareja. Please see the full event description for individual matchup details.
Funk/Hip-hop/R&B Ass Shakin Music!!
Jamie Ringholm - Keys
Will Dowdy - Harps
Evan Johnson - Bass
JT - Drums
Emsy Robinson Jr-Guitar... See More
Dallas's one and only live improv Hip Hop band.
Friday's Foolery was formed in the summer 2011 during a church rehearsal while playing around with a few Disney tunes and posting them on YouTube. From there, they formed their style with the motto "Creativity through Diversity".
"Little Shop of Horrors": The Campy Sci-Fi Rock MusicalIt's everyone's favorite boy-meets-girl, plant-eats-world love story, and it's coming to the stage of The Firehouse Theatre in Farmers Branch. "Little Shop of Horrors" takes you on a musical journey through the streets of Skid Row, to a struggling flower shop where a bloodthirsty plant from another world eagerly awaits its next victim. Full of delightfully demented humor, this long-running off-Broadway musical comedy is based on Roger Corman's B-movie and was later turned into a Broadway show and an Academy Award-nominated film starring Rick Moranis and Steve Martin. Now you can enjoy a night of bloody good fun at this show with a pop/rock score by Alan Menken and Howard Ashman, featuring songs like "Skid Row," "Somewhere That's Green," "Feed Me" and "Suddenly, Seymour." You'll eat up this fun musical ... if it doesn't devour you first.
Virginia Beach's Turnover has never been a band afraid of telling the truth. The emotional honesty poured out over a number of anthemic releases has been a proven formula of success for the band, but on their sophomore LP Peripheral Vision, the band treads into deeper water. Working again with Magnolia producer Will Yip (Title Fight, Circa Survive), Turnover's latest record shows a band maturing to create their best effort: an ethereal, reverb-drenched soundscape blending elements of hazy dream pop and the delicate emo rock of yesteryear. Songs like "Hello Euphoria" and "Like Slow Disappearing" highlight the new calmer, more subdued approach to songwriting, matched by Austin Getz's somber, confessional lyrics that echo throughout songs as if his words were haunting every measure. Peripheral Vision solidifies the idea that Turnover is a band with its finger on the pulse of its generation: growing and learning with every release, but never failing to provide a relatable, cathartic experience for anyone listening.
Emma Ruth Rundle is a Los Angeles-based accomplished guitarist, singer/songwriter and member of Red Sparowes and Marriages. Her first official solo album, Some Heavy Ocean, presents a collection of impassioned, cathartic songs, exorcising the ghosts of one of life's dark detours. Melancholic, but equally hopeful and accessible, the album wears its emotions on its sleeve. One critic described Rundle's voice as "bone-chilling texture filled to the brim with intent", and a better description is difficult to imagine; when paired with her compelling guitar playing, an enduring spirit takes root.
In 2007, Rundle assembled the self-described folkgaze collective, The Nocturnes, for the purpose of performing her work. The following year, she was drafted into the monolithic post-rock supergroup, Red Sparowes. Touring the world playing the Sparowes' epic brand of instrumental heaviosity sparked a fruitful musical connection with fellow Sparowes guitarist, Greg Burns. When that band commenced a well-deserved hiatus in 2011, she and Burns (on the invitation of Russian Circles) instigated a new group, Marriages, who supported Circles in California and then promptly began recording a debut mini-album, Kitsune (subsequently released by Sargent House in 2012). Meanwhile, Rundle and friends as The Nocturnes reconvened briefly in 2011, issuing a full-length album, Aokigahara, while solo she recorded an album of experimental guitar compositions, tentatively made available online.
What followed was a "dark, difficult time", marked by family problems and personal struggles which, though exhausting emotionally, also incubated Rundle's conviction to use their inherent misery as fuel for expression.And so, in 2013, she literally moved into Sargent House's home studio in Echo Park, sequestering herself for two months while writing and recording what would become Some Heavy Ocean. Itself a taxing experience, the process of creating the album was fraught with problems and setbacks that, naturally, served to fortify its unmistakable air of sadness and desperation. Which isn't to say Some Heavy Ocean isn't equally optimistic or compelling. An apt title if ever one existed, the album swells and crashes, waxes and wanes, ebbing and, yes, flowing - the way all great albums do. The songs twist and sway like kelp forests drunk on its amniotic tide.
The album opens with the brief title track, "Some Heavy Ocean", a nebulous back-looped swirl of elements, like a painter steadily mixing their palette into a swelling cacophany of hues. "Shadows of My Name" arrives promptly, an acoustic hymn propelled by Rundle's breathy, quaking voice, recalling classic artists like Bjork and?Sinead O' Connor at their most vulnerable. Emerging from shadow, the track spills open into a symphonic, reverb-tinted soundscape which, once fully envisioned, quickly vanishes. In its place steps "Your Card the Sun", an enigmatic whisper of a song, the brevity of which renders it de facto introduction to the album's next track, us-against-the-world manifesto "Run Forever". Anchored by an infectiously-memorable chorus, the "Run Forever's" timeless, expansive essence suggests Mazzy Star and late-era Swans, which may or may not be accidental. Utilizing Greg Burns' pedal steel, "Haunted Houses" follows a similar path, Rundle imploring the subject of her convictions, "Don't say it's not what you wanted", her sense of disappointment palpable. Side one closes with "Arms I Know So Well", an emotionally-charged appeal for someone to "deliver me from all the evil I do to myself" which, like so much of the album, simply bows out once its point has been made. Nothing on Some Heavy Ocean overstays its welcome. Decidedly more brooding and less percussive, side two opens with "Oh Sarah" followed by "Savage Saint", two subdued tracks punctuated by the string arrangements and additional vocals of Andrea Calderon (who appears elsewhere on the album, always with evocative effect). "We Are All Ghosts" rattles its cage, a thumping, rhythmic treatise on the human condition, before the bleak soundscape of "Living With the Black Dog" signals the album's imminent demise.
Some Heavy Ocean will be available on CD, LP and Download via Sargent House on May 20th, 2014.
Formerly known as Chet Faker. Growing up on his dad's chillout compilations along with vocal albums from the jazz great Chet Baker, Australian electronica artist Nick Murphy combined the two and took the name Chet Faker when he launched his career with a downtempo cover of Blackstreet's "No Diggity." Looking to avoid any confusion with the Australian singer of the same name, Murphy dubbed himself Chet Faker when he made "No Diggity" his first upload to the Internet in 2011. After the song became a viral hit, Murphy released his debut EP, Thinking in Textures, on the Opulent label in 2012. A year later he partnered with fellow Aussie Flume on the Lockjaw EP released on Future Classic, while 2014 saw the release of the slow and serene Built on Glass, his debut album for Downtown Records.