Risk catalyzes Sleeping With Sirens on their fifth full-length and first for Warner Bros. Records, Gossip. Through taking quantum sonic leaps, the quintet—Kellin Quinn [vocals, keyboards], Jack Fowler [lead guitar], Nick Martin [rhythm guitar], Justin Hills [bass], and Gabe Barham [drums]—reach the artistic heights they began angling for nearly 10 years ago, while amplifying musical hallmarks such as soaring and soul-striking vocals, wildly catchy riffing, and intricate beats. At its heart, the record reflects not only creative progression, but personal as well.
When it comes to alternative music, the boys have quietly pushed the envelope since the release of their 2010 debut, With Ears to See and Eyes to Hear. Along the way, Sleeping With Sirens’ delicate one-two punch of towering melodies and tight musicality galvanized a diehard fan base dubbed “Strays” as they sold a staggering total of 1.5 million albums worldwide. 2013’s Feel bowed at #3 on the Billboard Top 200 and boasted a standout collaboration with MGK entitled “Alone.” Its 2015 follow-up Madness went Top 15 and earned unanimous acclaim with The New York Times praising how it, “blends tender and anguished in equal measure.” Along the way, Alternative Press named them 2014 “Artist of the Year” at the Alternative Press Music Awards, awarded “Kick Me” the 2015 “Song of the Year”, and touted them on its cover six times. They’ve graced the main stages of Warped Tour, Reading & Leeds, and more in addition to Kellin duetting with Pierce The Veil on the gold-certified “King For A Day.” After a whirlwind 2016, the guys hunkered down in January 2017 and commenced work on what would become Gossip for the next six months with producer David Bendeth [Paramore, All Time Low]. Now, this chapter kicks off with a bang on the call-to-arms single “Legends.”
The White Noise continually flip the script. The Southern California quintet -Shawn Walker [vocals], David Southern [bass, vocals], Josh "KJ" Strock [guitar], Bailey Crego [guitar], and Tommy West [drums]- infuse aggressive rock with cinematic expanse and hardcore punk urgency, striking an elusive middle ground between influences as diverse as Underoath, Brand New, and Nine Inch Nails. Since their formal emergence in 2015, The White Noise has made waves. Alternative Press hailed their Aren't You Glad? EP among "The 12 Best EPS of 2016" and claimed, "The LA group have left an undeniable mark on the scene with the first six songs of their career." Further acclaim came from New Noise Magazine and more as the band incinerated stages on tour with I Prevail, Dance Gavin Dance, and many others. Meanwhile, "Picture Day" has clocked over 683K Spotify streams and 512K YouTube views. On their 2017 full-length debut album AM/PM, produced by Drew Fulk (Motionless In White, We Came As Romans), the group boldly bob and weave past convention and emerge with an infectious and inimitable body of work representative of their penchant for unpredictability.
On 2016’s full-length debut, Boom Room Room (Side A) [Sumerian Records], Palaye Royale—brothers Remington Leith [vocals], Sebastian Danzig [guitar, organs], and Emerson Barrett [drums]—bring their theatrically charged fashion-forward art rock to life in vivid and vibrant technicolor. “It’s fast-paced dirty rock ‘n’ roll that makes you feel a certain way,” Remington proclaims. “It’s been a long time since bands really put on a show. When you saw the Rolling Stones on stage, it was huge. We want that element of fashion and spectacle to come into play again.” “It’s got a creative side which we love from classical music,” adds Sebastian. “At the same time, we grew up in Vegas, so we love to get theatrical.” “We want to inspire the new culture of youth to indulge in rock ‘n’ roll and everything the lifestyle brings with it,” agrees Emerson. “It’s the pursuit of art and music for this generation of flower children.” Born in Toronto and raised in Las Vegas, the boys found themselves immersed in music at a young age. In their late teens, the brothers would trade the “City of Sin” for the “City of Angels,” founding Palaye Royale. “The name automatically connects us to another era,” explains Sebastian. “Palaye Royale is the dancehall in Toronto where our grandparents met in the fifties. We’re very cognizant of history and culture. I feel like that’s getting lost. We’d love to revive an appreciation of it.” They also did things the old-fashioned way, insisting on playing hundreds of shows before cutting a proper album. They would embark on the High School Nation Tour two years in a row in addition to sharing the stage with the likes of Camp Freddy. At the insistence of Alex Burdon—daughter of The Animals singer Eric Burdon—Sumerian Records caught one show, was effectively blown away, and signed the group the same night. In the summer of 2015, Palaye Royale recorded Boom Boom Room (Side A) in just three weeks’ time with the help of another legend… “James Iha produced the album,” continues Sebastian. “He just wanted to make a rock record. We’re huge fans, and it was amazing to collaborate.” “He allowed us to be creative,” says Emerson. “Because he’s an artist himself, he understands how fragile and delicate the process of recording can be. He knows exactly where we’re pulling from and channeling our image and music. He did a similar thing in the nineties!” The first single “Don’t Feel Quite Right” shimmies from a bombastic beat into a swaggering riff that culminates on an unshakable chant. “We wrote the song about a lot of girls who live in Los Angeles,” admits Remington. “They’re those annoying pseudo-models online.” “It’s about the world of ‘Instagram Famous’ girls who will do anything for acceptance in this world,” affirms Sebastian. “We got really honest with the lyrics and images here.” Elsewhere, Palaye Royale threads together the cinematic “Mr. Doctor Man,” “Sick Boy Soldier,” and “Clockwork” into one psychedelic and fascinating narrative. “The three songs tell a story,” Remington goes on. “‘Mr. Doctor Man’ comes from the perspective of the doctor, ‘Sick Boy Soldier’ continues it from the perspective of the patient, and ‘Clockwork’ conveys an overall synopsis of being lost. Much of the record is about losing your mind. It reflects what we were experiencing while writing.” For “Ma Chérie,” Palaye Royale tapped the talents of close friend Kellin Quinn [Sleeping with Sirens]. “It’s about a married French woman I dated,” sighs Sebastian. “I didn’t know she was married, but I found out down the road. It’s that whole L.A. nightlife scene and everyone trying to be someone they’re not. Kellin liked the song, and he really helped bring it to another level. We love what he did!” Boom Boom Room (Side A) is only half of the story though. The band has (Side B) on deck next. The whole package speaks to the lost mythos of rock ‘n’ roll evocative of places like New York’s Boom Boom Room and in the hearts of their heroes such as iconic music manager Kim Fowley—to whom the album is dedicated. “He heard our band through KROQ DJ Rodney Bingenheimer,” recalls Sebastian. “Rodney put him on the phone with us, and we hit it off. We just became really good friends. It’s that outrageous quality of people like him that lives on in Boom Boom Room.” “It’s all a state of mind,” Remington leaves off. “We had one wild night playing a gig at the Boom Boom Room, and it stuck with us. Our Boom Boom Room is something like a dreamscape reality. That’s what rock music should be.”
A trio of two brothers and one longtime friend who personally produce, perform, and passionately conjure up dark alternative pop punctuated by rock and R&B, Australia’s Chase Atlantic blur the lines between a nocturnal aesthetic and primal bliss on their 2017 self-titled debut for Warner Bros. Records. This delicate balance quietly transformed the group—Mitchel Cave, Clinton Cave, and Christian Anthony—into a veritable sensation down under while still in their teens. Since forming in 2011, the boys have packed multiple headline tours across Australia, amassed an impressive digital footprint of followers, released two successful independent EPs, Dalliance  and Nostalgia , and spawned a viral single with “Friends,” which garnered an incredibly large count of Spotify plays. However, their shared ambition always exceeded the confines of the bedroom studio where they initially recorded. “While all of our friends were doing gap years and finding themselves, we were working on getting the world to notice us,” admits Mitchel. “We made this agreement within the band that we weren’t just going to stay in Australia. We wanted to sign to an international label, and we wouldn’t stop until that happened.” “What we were doing was different for Australia,” adds Christian. “It felt like we were the only ones putting out music that we produced and made entirely by ourselves. That’s the process. It’s real.” That spirit caught the attention of the Madden Brothers during 2015. Multiple meetings in Australia followed, and the three-piece signed with the industry icon’s music company, MDDN. In 2016, Chase Atlantic flew to Los Angeles scoring a deal with Warner Bros. Records. “The Maddens locked us away in a Burbank studio for three months and threw away the key. We really got to preserve that organic sound,” says Clinton. Without outside influences, the three-piece produced, played, and recorded every note, including saxophone. Along the way, they honed and fine-tuned a definitive style equally reverent of Tame Impala and Skrillex as it is of The Weeknd and Travi$ Scott. “To us, production is the most important thing,” Mitchel goes on. “It’s the most critical element of creativity. We push ourselves to further what we can do every day, whether it’s producing or playing. We really found our musical identity this past year.” Now, Chase Atlantic roars to life on the first single “Church.” Glitchy synths blip in the background as Mitchel’s breathy voice haunts and hypnotizes. Bells ring while the hook—“I’m about to take you back to church”—simply seduces. “It’s very forward, sexual, and aggressive,” explains Mitchel. “The lyrics are sexualizing religion in a way, and the song ends up being the complete and total opposite of what church really means to most people.” Elsewhere on the record, the airy “Into It” tempers a downtempo groove with an unshakable refrain before a jazz-y saxophone solo takes the spotlight. “It represents the transition into a new, more intense lifestyle,” says Christian. “You’re acknowledging that this something you’re into and can roll with. It’s our story.” Meanwhile, “Right Here” urges for a carpe diem moment within a relationship. “It basically says, ‘Fuck everybody else. It’s just you and me’,” Mitchel reveals. “All that matters is the two of us in this moment.” Ultimately, Chase Atlantic forge a lasting connection through that honesty. “The one thing we want people to take away from the music is this element of really feeling themselves,” Mitchel leaves off. “A song can make you go, ‘Fuck yeah,’ and you’re thinking about it and singing it all day. You’re not left underwhelmed. You’re overwhelmed. We want that.” “And world domination,” agrees Clinton.