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recklingreckling · 1 year

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NEW SONG - P-22 - OUT NOW ON ALL STREAMING

Kelsey Reckling - Vox/Guitar Erik Jimenez - Guitar Brandon Schwartzel - Bass Max Kuehn - Drums

Produced, Recorded, Mixed by Max Kuehn Written by Kelsey Reckling

#Reckling #P-22 #music #kelsey reckling #max kuehn #erik jimenez #Brandon schwartzel #mountain lion #animal behavior

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belles-endormies · 1 year

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Tamara Lichtenstein - Kelsey Reckling Catherine Sullivan

#sleeping beauty

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cocktail-of-art · 4 years

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by Kelsey Reckling

#details #art #red #Kelsey Reckling

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alotofboring · 6 years

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New Music Friday Alert!

אחרי שבוע עמוס ביותר בעבודה אני חוזר לשתף כאן אלבום טרי-טרי שמתנגן אצלי באוזניות מהבוקר, אלבום בכורה של RECKLING – גראז' פאנק רוק פרויקט של קלסי רקלינג מלוס אנג'לס. אלבום יפה מאוד לטעמי, בדיוק כמו שאני אוהב.

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ניתן להקשיב או לקנות בBandcamp או Burger Records בטייפ

RECKLING by RECKLING

04.02.18

#reckling #kelsey reckling #music #music blog #Hebrew

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jungleindierock · 5 years

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FIDLAR - By Myself

New video from the wonderful FIDLAR for the new single, By Myself.

This video features “No Parents, Criminal Hygiene, Danny Bengston (Together Pangea), Kelsey Reckling (and Bocky), Cadien (Twin Peaks), The Side Eyes, Benjamin Booker, Sunny War, Matthew Zuk, Brian Rodriguez, The Frights, No Win, John Doe and DJ Bonebrake (X), Tropa Magica, Zachary "Penske" Cox, Misses Joseph Herzog, Shelly Schimek, Nate Mercereau, Culture Abuse, Barbara (@poserfeel), Alice Baxley, SWMRS, The McGinnis Family, NOBRO, Dicky Presto, Jimmy Russo, Ronald Ray-Gun, FIDIOTS, Dune Rats, Howlin' Pelle Almqvist (The Hives), Matt Caughthran (The Bronx), Dave Catching (Eagles of Death Metal), Jonah Ray and Taran Killam”

Fidlar, stylized as FIDLAR, are a punk rock band from Los Angeles, California. The band is currently signed to Mom + Pop Music in the US, Wichita Recordings in the UK and Dine Alone Records in Canada. They are comprised of Zac Carper, Max Kuehn, Elvis Kuehn and Brandon Schwartzel.

Links: Facebook | Twiter | Site

#FIDLAR #By Myself #new music #new video #2019 #indie #rock #garage rock #alternative #alternative rock #indie music #punk #punk rock #Rebjukebox #Jungle Indie Rock #USA #music

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andrewrosswatson1987 · 5 years

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REVIEW: MOZES AND THE FIRSTBORN DADCORE ON NEW ALBUM

Mozes And The Firstborn have now reached that third full-length album point. This brand new album, Dadcore, out today (January 25), is released via label, Burger Records. California's Burger Records were the first to jump onto the addictive, raw energy of Mozes And The Firstborn, releasing their debut album in 2014. Vocalist and guitarist, Melle Dieleson, explains the love behind their music. After all, ask an average fifteen year old nowadays what rock music is and they’ll characterise it as something their dad listens to: “Dadcore is a love letter to rock music. It’s an ode to being in a band. After eight years we still sometimes play shows where only twelve people show up, there’s no backstage and the fee is a case of beer and a place to crash. Nonetheless, there’s four people up on that stage rocking out as hard as they can. That's Dadcore to me.” Dadcore was produced by drummer, Raven Aartsen, with Chris Coady (Beach House, Yuck, together PANGEA) on board as co-producer. On this third record the band has worked with different mixing engineers, including Chris Coady, Rob Barbato (Kevin Morby, The Babies, The Fall), Roland Cosio (together PANGEA, Fuzz, Peach Kelli Pop) and Andrew Schubert & Eric Carlson (together PANGEA, Mean Jeans, Wand). They’ll bring their potent mix of Eindhoven, Netherlands four-piece grunge and powerpop to the UK for an exclusive show at Shacklewell Arms, London on Tuesday, March 12. The singles for the project are, so far, “Baldy”, “Sad Supermarket Song”, “Hello”, “If I” and “Blow Up”. Title track, “Dadcore”, featuring together PANGEA, opens the album childlike and with earnest. Then those drums, strange and foreign, kick off the song with urgent and immediate guitar. Grunge but with a touch and spot of seeming optimism. Second track, “If I”, however, screeches into existence. Drums fire climatically and ominously, giving life to this evil beast. Mourning and despondent, the guitar cutting like a buzz saw in the hands of the insane. “Can you shut your mouth?” a question inviting you to, daring you to, think your next step carefully. “If I could’ve left it there” like either not acting on impulse to potentially kill, or not prodding the beast into calamitous action. “Baldy”, now. This’s more upbeat, though still with a touch of melancholy to it. “Well, I know this can’t be right” like a step of trepidation. Harmonica like the blues in an altogether different setting. Then comes “Sad Supermarket Song”, sounding maybe as it should; downbeat, sparse and introspective. This then gives way to driving, grungy rock. At one point it tapers off into brief silence, like cut short facing a dead end. Then there’s a vocal refrain, signalling a little more time to think akin to a crossroads and not a metaphorical cul-de-sac. “Fly Out I” is a short intermission, as sad as it may be. The scene of “...and move into LA/I fly out to meet you, it’s a bright and shiny day” painting a picture of anticipation. “Blow Up” is like the happiness of anticipation matching the euphoria of the meeting itself. The stuff of dreams and then some. The reverb of the vocals indeed like a dreamlike state. A refrain stretches the dynamics of the song, the vocals bouncing off walls more so amidst the relative silence. They then fade in and out like in some sort of time warp. The drums then stride forward independently, crisp and emphatic before the rest of the instrumentation sees the track out. “Hello” trudges before, “This is a song for Rosalie” hammers the song in proper. “Now she is a woman and it’s wonderful to see/Any moment she can summon up the life she’s lived and dreamed” like joyous realisation. A wayward solo like the excited passion of unabashed happiness. Things slow unceremoniously, like as the start before hammering in and getting cut off even more unceremoniously. The then strains of “Scotch Tape/Stick With Me”, featuring Kelsey Reckling, are deep and bassy of guitar chord. Thick and almost feet in the mire. The dynamics of intermittently going from relatively inanimate to otherwise keep the ears curious. There’s a thankfully marked delineation between both halves of the track, the latter a creaking wail of ambience and ringing out more sedate than before. Together “Were All Saints”, sways from side to side, sunbathing in whimsical thought. It’s more inward moments see the bass taking relative flight of melody and breaking from just letting life wash over you. “Amen” is a wall of guitar chord and you can’t get over to the other side where the grass is greener. An angular solo is in the rut as much as anyone else in this situation. Things slow, is this a chance to scale the wall in the end? The concluding “Fly Out II” pleads, “I need to feel you/I need the real you”. The notes ring out earnest, the song dictated by the drums in a pattering kind of rhythm. “I’m so tired of living far apart…are you ready to depart?” like leaving the airport for a whole new life, together proper and not just lovers by mailed love letter to rock music and being in a band. Indeed, pattering rhythm like a trudging distance only ever narrowed by flight at remarkable speed. Ones to look out for are “Dadcore”, “If I”, “Sad Supermarket Song”, “Scotch Tape/Stick With Me”, “Amen” and “Fly Out II”. One particular thing to remark upon looking at this album is the aesthetic symmetry of the track list when pondering those ones to look out for. What you’ve basically got are the first two, last two plus the fourth and fourth last giving you means to appreciate what’s all start, approximate middle and end. Mozes And The Firstborn are a good mix of the loud, quiet and somewhat more sedate. They’re a grungy rock band with a modern twist with the genre true having died a death some years ago. You can make somewhat broad stroke comparisons to the likes of Nirvana, but these are minimal. They’ve got a somewhat attuned ear to the pop and accessible, sometimes like pop punk. Mozes And The Firstborn’s Dadcore can be bought on iTunes, here.