Halifax, Nova Scotia musician Samuel Hill has been recording music as The Everywheres since 2012. The music is a warm, shimmery, swirling guitar filled, psych-pop album with just the right amount of fuzz, reverb and as Father/Daughter describes, “peyote induced tambourines”. Check out opening track, “Unfortunate Direction” (below), to see what I mean.

The Everywheres self titled debut will be released through Father/Daughter Records on June 25. It’s a must have.

The Everywheres – Unfortunate Direction from The Everywheres (2013)

 The Everywheres (Facebook)

The Everywheres (Bandcamp)

Father/Daughter

Before I began this post, I plugged the Three O’Clock into our search bar to see how many times I’ve referred to this band. I was surprised and more than slightly disappointed in myself that there have only been two previous mentions (and only one by me!). You see, the Three O’Clock is one of my all-time favorite bands. They were one of the first bands I discovered on my own, once I had graduated from my parents’ Beach Boys, Bee Gees and Carpenters records (those records primed me for the Three O’Clock’s 60s-throwback sound). I can recall the night I first heard their album Sixteen Tambourines like it was last night: lounging in the back of a van, packed with friends, cruising down PCH, the crisp guitars, clean bass lines, and Michael Quercio’s magical voice ringing in my ears.

I immediately acquired that album and the band’s previous releases: their early garage-pop album as the Salvation Army and the first EP with their new name. These songs were my teenage years. These songs helped me navigate my formative relationships with girls as they, the relationships, ignited, crashed, and burned. No matter my mood, The Three O’Clock fit to a T. Any time a new girl caught my eye, “With a Cantaloupe Girlfriend” its driving drums and hopefully-baroque keyboards nudged me forward. Then when said girl reciprocated not ever, or for a year, two, then never again, “She Turns To Flowers” and its backwards guitar twisting through the refrain of “then she is no more,” saved me from wallowing too deep in teenage despair.

Then a funny thing happened. I never outgrew the band. Even after the band imploded I tracked subsequent projects with equal enthusiasm: Louis and Mary’s Danish, Michael and Permanent Green Light, and later, Jupiter Affect. By this point I was working full-time in radio and was quite the evangelist for all four aforementioned bands. I even brought out Permanent Green Light out to play a grand opening party for a music store I was managing. When my first son was two, I included The Three O’Clock’s cover of “Sorry” by The Easybeats in the first mix CD I made for him. We’ve been geeking out on the Three O’Clock together ever since. Now he’s sixteen. Now he just snags albums off my harddrive.

Fast forward a decade and the Three O’Clock and its members have lain largely dormant until late last year when blips of the band began surfacing on the radar of social media. I suspected these flickers of resurrection portended a much bigger event. And while the initial announcement that the band would be reuniting for Coachella was impressive, I’m much more thrilled that they’re playing a string of smaller shows, so my kid and I can be reunited with our paisley pals in a more intimate setting. I want to be crammed into a club with people who share my affinity for the band rather than fighting an indifferent crowd of 80k in the middle of the desert.

Michael, Louis, Danny, welcome back! See you Saturday!

The Three O’Clock on Facebook

on Twitter

It all started with a tweet from @HoZacRecords, “Debut LP from Georgiana Starlington out soon (mbrs of K-Holes/Black Lips) “like Johnny & June Carter Cash covering the Velvet Underground”. The description of their sound alone was enough to peak my interest, but seeing that the band consisted of Jack and Julie from K-Holes and Black Lips, I had to hear the album.

Their debut LP, Paper Moon, will be released by HoZac, the release date is still to be determined, tentatively in early March. The album sounds just as described above, “…Johnny and June Carter Cash covering the Velvet Underground”. “Hard Grave” and “Louise Louise” (below), give you a good taste of the psychedelic, country goodness contained in this album. The slide guitar, driving bass, barely played drums, along with the twangy vocals of both Jack and Julie make this one of the coolest album’s I’ve heard in a long time. I highly recommend it. Keep your eyes on HoZac’s site for release information, you do not want to miss this release.

Georgiana Starlington – Hard Grave from Paper Moon (2013)

Georgiana Starlington – Louise Louise from Paper Moon (2013)

Georgiana Starlington

HoZac Records

Jacco Gardner is a multi-instrumentalist and producer extraordinaire from Hoorn, Netherlands. His incredible debut LP, with Trouble In Mind, Cabinet of Curiosities, hit record stores today. Jacco’s talents shine on this record as he plays all the instruments on the album (including organs, mellotron, flutes, and harpsichords), except the drums, which were handled by Jos van Tol.

Clearly influenced by late 60’s psychedelic bands like The Zombies and The Left Banke, Gardner’s music is a magical ride back in time. Check out the sugar-sweet, harpsichord driven track “The Ballad of Little Jane” below. It’s Beatle-esque melodies and vocal delivery is so addicting, you’ll repeat the song at least 3 times. Also below, is a video of Gardner performing “The Ballad of Little Jane” live. Enjoy.

Jacco Gardner – The Ballad of Little Jane from Cabinet of Curiosities (2013)

Jacco Gardner

Trouble In Mind