The Position: Social Media & Marketing Coordinator. This position is part-time & remote. Expected 20-30 hours per month at $25/hour.
Lame-O Records is seeking a Social Media & Marketing Coordinator for our funky label & roster of artists. The ideal candidate will be a highly organized and self-motivated human, leading our social media content and strategy. This role will communicate between Lame-O, our artists and partners to ensure marketing updates are regularly updated and distributed.
Key Responsibilities:
Requirements:
Interested & qualified candidates please send your resume and a brief note about yourself to jobs@lameorecords.com
]]>So, the story starts way back in May of 2018. My brother had just passed away roughly two years ago, and The Superweaks trajectory had come screeching to a halt. None of us really knew how to deal with grief. Clearly Corey's death hit me hard. The Superweaks were mostly finished with our Teenage Blob EP/video game and I had a collection of 16 songs that hadn't quite made any of our records, so I figured, why not try to turn these into something and get my creative juices flowing. My friend David Settle from Psychic Flowers had just moved to Philadelphia and was planning to run some sessions out of our studio, Big Mama's Recording. I figured recording some drums to those 16 songs would be a great way to acquaint him with the studio routing, so early that summer we tracked the drums. I laid down basic tracks soon after, and spent the summer writing lyrics at the beach, which is where I like to write all of my lyrics. It's gotta be something about the ocean and the sand. Very Soothing. I asked my good pal Ian Farmer if he'd be willing to track some vocals for me, and at the end of the summer he and his brother Ethan coached me through the first pass of my albums vocals. I know some of what you hear throughout the album is what Ian recorded, but I don't love my voice through a U-67, so I ended up redoing a lot. From that point I kind of put the album on the backburner until March 2020, We had to move everything out of our studio mid February due to unforeseen circumstances involving a mildly hostile takeover by a religious group. Thus when the pandemic hit Chris and I essentially had the entire studio's worth of equipment in our house. With nothing but time, I set off on embarking on the journey of finishing this album, For Me.
"Mercury Retrograde Survival Kit":
When we started recording the album I was sitting at the computer setting up a click track to record onto the tape machine along with the drums, when in walks Kian Sorouri. I told him I'd make a song for him, so I made this up on the spot, and recorded it then and there. Kian did some tours in The Superweaks, and Mikey and I would occasionally play in Loose Tooth with him. So the song is entirely influenced by him. I put horns on it because horns are epic and fucking awesome. I played in a ska band in high school. The end build-up octave guitar parts were Inspired by Weezer's Only In Dreams.
"Kitsune":
This was the first song on the record I finished. Much of the record's inspo can be found in this song. When I wrote this song I remember I was listening to Deftones S/T and Diamond Eyes a fair amount, trying to mess with some of those cool chord extensions they use. I wanted the song to feel dark and dirgey, but with some bright crystalline synthesizers and a wash of guitars over it, a la Slowdive's "Alison." The verses I clearly ripped off Nirvana's "Come as You Are" for the main riff. I do shit like that a lot. I flew out for winter NAMM in 2019, and since I didn't have a guitar to play when I wasn't trying guitars at NAMM I went and bought a cheap shitty Jackson at Guitar Center that I immediately FELL IN LOVE WITH. Floyd Rose makes the greatest bridges on the planet and I will not be listening to any other opinions because they are wrong. Anyway, that lead tone is my best attempt at recreating Billy's tone on Smashing Pumpkins' "Here Is No Why". I did a few shows filling in with Teenage Halloween on guitar a few days before we locked down for Covid, and on the way back from the final show, they introduced me to 100 Gecs and honestly, that moment is the reason this record even got finished. I got deep into Hyperpop, and spent the next few months experimenting with soft-synths, using this pre-recorded album as my canvas. I used a whole lot of Serum on just about everything, including the aforementioned crystalline synthesizers.
"FIre Away":
This whole record started out as me trying to adhere to Guided By Voices through composed 1:30 song length style, and this is no exception. The lyrics to "Fire Away" are even an homage to GBV. Can you guess what song? This one otherwise is pretty straightforward. In college I listened to A LOT of Snakes Say Hisss and the way they used electronic drums and percussion was my template for the work up on this song. We have Serum ripping an arpeggiator through the whole song, and I definitely just played this guitar riff over the song as a joke, but I kept it because it's funny and I've learned not to take making music too seriously; it's something we do for fun.
"The Joys Of Being Human":
This song was originally written with my bud Jarret Nathan of the band Pears during "Jamuary." This was an event we held at Big Mama's Warehouse, usually starting NYE, where we all want to start the year off right by JAMMING AS MUCH AS POSSIBLE. The Superweaks specifically held a couple jams where we would spontaneously write songs, and we'd have everything mic'd up so we could record whatever happens to the tape machine. You can find MANY of those songs and many incredible conversations with Big Mama's alums in episodes of The Superweaks Superweekly Supercast. The lead in the intro is influenced by Michio Kurihara's solo on Boris' "Rainbow". Wata and Michio have had a huge influence on many of my tones and performances throughout my life. Of course the guitar riff in the chorus is a rip of "Where Is My Mind." It just worked and stealing is the most pure form of flattery or some shit. I wanted to do a cool "classical" style piano solo in the second verse, but I can't play piano so I programmed it and doubled it with a synth because I could not afford a better piano patch. I listen to a lot of Felix Mendelssohn's "Songs Without Words" series, as it spans his whole life. The first song was written when he was 13, and pieces were written for that series right up to his death. That solo is for Felix. This song is also probably the first time Vocaloid is prominently featured on this album. At this point in time I listen to a lot of "Kawaii EDM" and watch almost exclusively anime, so it only makes sense.
"Flightless":
This song is my homage to Rozwell Kid. In like 2013 my old band Dangerous Ponies played with them somewhere in Johnstown, PA and I was BLOWN AWAY. Fortunately, I became lifelong pals with those guys and even play in a band with their drummer Sean. I bite a Gary Glitter riff throughout the verses and in the first verse there's a little homage to The Zombies. There's also a little bit of a "Pleasure Suck" vibe to the guitar tone and pocket piano part in the bridge. Spending 2 weeks with those guys recording that album taught me so much about harnessing controlled chaos and what things could sound like on the other end. Endless love and respect for Spirit Of The Beehive.
"Weak":
This song ended up kind of being a sped up version of "Kitsune" when it was written, so I messed around with it a bit to make it sound as different as possible. I wanted to get a super harsh aggressive lead tone for the riffs, a la Boris again. This was the first song I really fucked around with using soft synths and arpeggiating in my process. I left it in the whole time because I wanted it to be ear candy with a slightly recognizable melody that changes and morphs throughout. For the choruses I recorded the vocals in my friend Kiley's empty, newly installed walk-in refrigerator for that haunting background vocal reverb, inspired by "Where Is My Mind." I don't know exactly what inspired me to do the washout ending, but I love fucking with reverbs and I guess since I had just finished mixing "Embroidered Foliage," taking it where No Thank You's "Eden" left off is where my head was at.
"Bummer":
This song was actually completely rewritten after it was originally tracked. After I dumped it from tape I chopped up the drums and reorganized them to fit the new parts, which I wrote on the baritone for that EXTRA thickness. You can still hear the original progression in the verses under that warbly guitar and those electronic toms, which is another nod tonally and compositionally to the Spirit of the Beehive. The tom samples were taken from this Cheer Up Song. I rewrote the song specifically to include the "Pedro the Lion bridge" as I liked to refer to it. I have always loved the album Control, and particularly wanted to do something that evoked "Indian Summer" if only for a brief moment on this song. In the second verse we go full tilt sidechained synth, which was definitely inspired by the club banger ending of "Visions" off of Charli XCX's How I'm Feeling Now. I think that album is a masterpiece. By the time that came out I was HOOKED.
"Dejected":
This was another from "Jamuary", written with the illustrious Melissa Brain from Amanda X and Lame-O's own GOLDEN APPLES. The vocals reference this song and were the first lyrics I finished for this album. It's kind of amazing how I've never really realized exactly how much bands like Nirvana and The Pixies influenced me subconsciously, because I haven't listened to either of them much for the past 20 years. Mix Nirvana with The Shout Out Louds and that's kind of where this song came from. I found an old ARP synthesizer in the bathroom (used as a storage room) of my bud Oliver's uncle's recording studio, dusted it off, and threw it on the track! This is also the only song on the record that features somebody else other than myself playing an instrument! Chris from The Superweaks played the harmonica. I asked him to do an old west kinda thing and he laughed at me, but nailed it. He also helped transpose SCOM for the riff in "Fire Away." This one has another sidechained synth, but at that very moment in time I was listening to a fuck ton of Robyn.
"My Star":
[This title] is the English translation from the Hungarian "Csillagom," which is what my grandmother always called me up until she passed away. I'm so fortunate to have been brought up with her in my life, and glad I was able to leave her voice on these recordings for everybody to hear. The song kind of deals with loss and feeling like you might not have given the person all the time they deserved from you. The song was based around the idea, "What if I just made a sludgy Ovens song?" I proceeded to do my best Slash impression, learn the basic structure for the orchestral composition in "November Rain" and apply it to the song. I'm very proud of my tone and this solo.
"Ahegao":
Which brings us to the final song. The name is a play on the lyrics, if you don't know what ahegao is you can read about it here. I think it's funny. Pat Graham thought it was funny. This whole album in a lot of ways is about how after Corey died I didn't invest enough time in myself, and instead put everything I had into other people. I am a serial enabler. I always have been. This song is simultaneously motivating me to follow my path for myself a little bit more. That's why I throw back to "Fire Away" in the lyrics. Musically I always viewed this as an homage to my favorite Sneeze song. It doesn't really sound much like it, but I guess I can still see it. We finish it up with some more warbly pocket piano, a reversed ebow line, and my best Tom Petty impression.
Thanks for listening.
We're celebrating our tenth anniversary in style at the First Unitarian Church in Philadelphia. 3 shows over two days (December 2nd and 3rd,) we'll have Slaughter Beach, Dog, Mo Troper, Hurry, Shannen Moser, Golden Apples, The Superweaks, Thin Lips, Big Nothing, Dazy, Dominic Angelella, Attia Taylor and Yours Are The Only Ears. Tickets available here.
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9/3 - Asbury Park, NJ - Asbury Yacht Club - FREE
9/4 - Washington, D.C. - The Pie Shop - Tickets
9/5 - Pittsburgh, PA - The Roboto Project - Tickets
9/6 - Bowling Green, OH - Howard’s
9/7 - Akron, OH - Musica - Tickets
9/8 - Charlottesville, VA - Visible Records - Donation Based
9/9 - Richmond, VA - Garden Grove Brewery - FREE
9/10 - Philadelphia, PA - Ukie Club - Tickets
9/11 - New York, NY - Purgatory - Tickets
Over four years in the making, we couldn’t be happier to pull the curtain back on Shannen Moser’s third (and best) album, “The Sun Still Seems To Move” out 9/30 on Lame-O.
Today we’re releasing a video & single, Paint By Number. Stereogum describers the track “surrounding the Philadelphia singer-songwriter with a battalion of rock and orchestral instruments used in delicate powerful fashion. It never rises above a simmer, yet an intensity brims beneath the beauty.”
An album of reckoning with death and trauma, with all the shapes that love can take and all the people we’ve been and will become. It’s a record of regret and relief, unlocking every facet of feeling with an unabashed yet tender vigor. It’s watching the clouds bend to a new shape and still staying outside. It’s cry-laughing on the phone to an old friend, and trying to trust yourself again.
The vinyl for “The Sun Still Seems To Move” will follow the digital release, and is a stunning piece of art crafted by Russell Edling. A perfect companion to a gorgeous collection of songs. Available on coke bottle clear vinyl and super limited Violet Smoke vinyl for our Lame-O Fan Club folks.
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Dazy—the moniker of Richmond, VA-based musician James Goodson—has joined the Lame-O Records! AND today has shared a new two-song single, Rollercoaster Ride b/w Peel, alongside a video for “Rollercoaster Ride.” The songs follow Goodson’s collaborative single with Militarie Gun, “Pressure Cooker,” and showcase both sides of Dazy’s noise pop dynamic. At just under two minutes, the A-side “Rollercoaster Ride” is another irresistible example of Dazy’s ability to pack big hooks into small runtimes. The track is perhaps Goodson’s poppiest to date, combining a bouncy drum machine beat, buzzing guitars, and shining mellotron to conjure a late ‘90s sound that feels refreshed instead of retro. On the B-side “Peel,” the swirling, psych-tinged verses give way to a driving, distortion-drenched chorus that’s equal parts volume and melody. Both songs were recorded by Goodson at home, then mixed and mastered by Justin Pizzoferrato at Sonelab (Dinosaur Jr, The Pixies, Wild Pink).
Goodson, after years of playing in bands and constantly writing songs, began Dazy in earnest in 2020 as an outlet for releasing music at a speedier clip. Aiming to capture widescreen hooks with homemade recordings, he released four two-song singles, followed by two EPs, Revolving Door and The Crowded Mind, in 2021. All of that material was then assembled alongside five new tracks on MAXIMUMBLASTSUPERLOUD: The First 24 Songs (Convulse Records). The collection was featured on multiple year-end lists, including Paste’s ‘50 Best Albums of 2021’ and ‘40 Best Rock Albums of 2021,’ and The Alternative’s ‘50 Top Records of 2021.’ The Crowded Mind also landed on Stereogum’s ‘25 Great EPs From 2021’ list. Earlier this year Dazy teamed with Militarie Gun for the release of “Pressure Cooker,” which saw high praise from Pitchfork, Stereogum (‘Best Songs of The Week’), Paste (‘Best Songs of 2022 So Far’), KEXP (‘Song of The Day’), Revolver, The Alternative, and many more.
Dazy is also playing shows! And if you're lucky enough to live on the east coast / mid-atlantic, you can catch them with other Lame-O's Golden Apples, Mo Troper, and Dust Star!
08/10 - Richmond, VA @ The HofGarden*
09/09 - Richmond, VA @ Garden Grove#
10/26 - Boston, MA @ Middle East Upstairs^
10/27 - Brooklyn, NY @ Saint Vitus^
10/28 - Long Island, NY @ Amityville Music Hall^
10/29 - Philadelphia, PA @ Foto Club^
10/30 - Baltimore, MD @ Ottobar Upstairs^
* with Dust Star, Keep, Wifi Password
# with Mo Troper, Golden Apples
^ supporting Militarie Gun, MSPaint
A Dazy T-Shirt is now available in the Lame-O store as well! Grab it while they're hot :)
Heavy praise, but not a bit hyperbolic. Mo Troper is the real deal. Fans of pop on it's side, or maybe fully upside down - this is the stuff for you. Mo Troper Five, or MTV, is out September 2nd, 2022 on Lame-O. Grab it here. Fan club version will come with a limited cassette.
]]>1. Amity (Elliott Smith)
2. Roll to Me (Del Amitri)3. That Thing You Do (The Wonders)4. Tempted (Squeeze)5. California (Joni Mitchell)6. Since U Been Gone (Kelly Clarkson)7. Yoshi's Story Ending (Kazumi Totaka)8. Wonderful (Beach Boys)9. Looking For The Magic (Phil Seymour)10. No One Can Hurt Me (The Grays)
Comprised of Cameron Wisch (Cende, Porches) and Justin Jergens (Sirs) this brand new band delivers fast sugary punk in the style of Texas heroes The Marked Men. From the moment we pressed play on the first track "Nothing In My Head" we were sold. The unrelenting groove intertwines with Jurgens’ passionate vocal performance and raw punk guitars with a 60’s sparkle. The songs that follow resemble everything from a bootlegged copy of Neil Young’s Live Rust to a glowing Brian Wilson B-Side. Open Up That Heart takes a stab at finding hope and love in the face of recent heartbreak, outdated familial expectations, depression, and a world in turmoil. Pre-order Open Up That Heart here and check out tour dates below.
Saturday, August 6 - Boston, MA @ Banshee Den
Sunday, August 7 - Catskill, NY @ Avalon Lounge
Monday, August 8 - Brooklyn, NY @ Purgatory
Tuesday, August 9 - Baltimore, MD @ Joe Squared
Wednesday, August 10 - Richmond, VA @ The Dark Room at The HofGarden
Thursday, August 11 - Washington, D.C. @ Quarry House Tavery
Sunday, August 14 - Brooklyn, NY @ The Sultan Room
Attia Taylor's excellent debut record “Space Ghost” is out Friday, July 8th. Recorded in Philadelphia with Jeff Zeigler (The War on Drugs, Kurt Vile) and mastered by Ryan Schwabe (99% of Lame-O Releases) “Space Ghost” is a an album full of psych-pop dream dripping goodness.
Today we’re releasing the track that 🪝’d me, “Dog & Pony Show” - a flowery dance track inspired by Donna Summer, Anita Ward and Minnie Riperton. The lyrics deal with "the issues I've faced personally and professionally with racism, imposter syndrome, and discrimination as an artist and professional.
In addition to her work as a musician, she is the founder of Womanly, a magazine and community empowering women and non-binary individuals to take charge of their health through art and creativity. Passionate about building communities through music, journalism, storytelling and research, Taylor combines social justice and health advocacy to bring inclusive and culturally relevant content to print and digital media and we couldn’t be more proud to have her on Lame-O.
‘Space Ghost’ is available for pre-order on lovely pink vinyl, and for members of the Lame-O Fan Club - we are offering a GLOW IN THE DARK variant, along with a pre-loved book from Attia, with an inscription inside.