New ambient electronic EP from Infamouse!
he title Infamouse was created one day by accident, when Auerbach-Brown’s son accidentally
misspelled the word “infamous” with a silent E. The cover art is nothing more than a picture of
Auerbach-Brown’s hand covering the lens of his smart phone. Taken on a sunny day, the sunlight
shining through his hand created a beautiful pink image, much like the way the inside of one’s
eyelids look as one drifts off to sleep on a warm, sun-bathed beach. The music often evokes a relaxed
and thoughtful mindset, but one or two songs will kick your arse and bring you back to reality.
Sitcom-Core Reaches New Heights with “Love in an Escalator”
Love in an Escalator, The Electric Grandmother’s 7th full-length release is their most sonically ambitious album to date, recorded over two years amidst the band’s move from Columbus, Ohio to Washington DC.
The title-track is a declaration to move onward and upward, a couple weathering the storm of transition and change. As illustrated by the emotive cover art by Anna Bihari, the band continues to press on with an “Us against the world” mentality, all the while determined to remain free spirits.
Pete Faust continues to defy songwriting convention while adhering to cohesive pop melodies in the style of an electronic-Ramones. In addition to her duties as the band’s live multimedia artist, Mary Alice Hamnett joins in on backup vocal duties, adding a saucy dynamic not heard before on previous EG albums. With this, the band finalizes what had been an ongoing transition from solo-to-duo.
Faust presents his usual sense of humor and postmodern sensibilities with observational quips about near-modern and contemporary entertainment on songs such as “The Internet,” “Virtual Reality Helmet,” and “Sitcom-Core,” a tongue-in-cheek analysis of the very genre he invented. The TV Sitcom themes are more often present on this album as metaphor and allegory, while occasionally still tackling the subject (The Cosby Show) head on in songs like “Mr. Clyde.” Faust’s wide musical influences are on display throughout – “Reagan’s Got the Bomb” is a tribute/parody of 80’s hardcore punk, while “Mom, What are Girls Like?” harkens back to old school hip-hop. The album is avant-garde without being pretentious, because while the band has matured musically, the subject matter clearly demonstrates the lack of maturity we’ve come to expect.
Love in an Escalator is available now for free download or for purchase in Deluxe, Standard, or CD formats. The Deluxe download has TEN additional bonus tracks – don’t miss out!
Electro-Rockers Infinite Number of Sounds Release One Final Collection
Electro-rock luminaries Infinite Number of Sounds release their 4th full-length album “Curio 2000-2012“, a collection of songs written and recorded for one-off live performances, indie films and art installations, as well as several songs cut from their most popular release, Radio Whales, due to time constraints.
This retrospective collection contains 16 unreleased tracks from throughout the band’s history, featuring music written music by the four original members of Infinite Number of Sounds (Brent Gummow, David Mansbach, Matt Mansbach and Ron Tucker) as well as contributions by Ed van der Kuil (Dink), cONScIENcE (Basement Love Underground), Jacob Wynne (Revolution Brass Band), Clayton Vaughn (Boulder Chamber Orchestra), Eric Alleman, Daniel Raible and Heather Manalili (ToBoxWithMan) and about a dozen zombie films.