Black Cobra Vipers
Alternately compared to A Flock Of Seagulls , Prince, Roxy Music, Aphrodite's Child, Klaatu, The Buzzcocks, Jeff Buckley, Tim Buckley, Lord Buckley, Buckley-the wonder dog, the feeling you have when you wake up after receiving dental gas, The Libertines, The JB's, Pere Ubu, Queen’s first 4 albums and the sound of plants recorded under microscopic conditions.. the rise of Black Cobra Vipers has been so rapid that that facts about where they actually came from have been lost in the litany of lawsuits over fainting girls and the copyrights associated with sending and receiving telepathic imagery.
Some things however are irrefutable facts [You can't kill yourself by holding your breath / You're born with 300 bones, but by the time you become an adult, you only have 206 /Slugs have 4 noses] and anyone who recently witnessed the spectacle of Gregory Di’ Martino, the 6ft 8” lead singer of Black Cobra Vipers, silencing the crowd at a Monster Truck Rally in Des Moines, Iowa with nothing more than a gentle guitar and a searing voice calling out an impassioned hymn to an alcoholic beverage [“Colt 45”], knew that they were witnessing the birth of something special. Not just a new band or a new sound, but a new way of being. Motorcycle’s hung in mid-air and cigarettes fell loosely from the lips of men who were twice the size of other large men. Regardless of whether they were eventually run out of town in a barrage of flames and shameful remorse [they were], for a brief moment a natural law had been circumvented, and all those who witnessed were never the same again.
“The most fun one can currently have under the constraints of international law” - Metal Detection & Dance Appreciation Monthly.
“It’s not impossible to imagine, when viewing Black Cobra Vipers, that the entirety of western recorded history has been a mistake, and one we are helpless to learn from or change. 4/5” - Chicago society of Surveillance equipment enthusiasts website.
“I have seen the future, and whilst this wasn’t it, it was extremely close.”
- Joan Landau
French Cassettes are serious about having a good time. With their jangly pop hooks already addictively repeatable, they’re all the more exciting in their feverish riffs and frantic rhythms. Relocating to San Francisco from a small Central Valley town, French Cassettes have been at it since their high school days, and the band never fails to get feet moving and heads swiveling every time they play a show. Their first full-length LP, Gold Youth, only recently came out last year, but it’s safe to say this album was worth the wait, delivering the fresh and dynamic indie rock that French Cassettes have become known for." - Charles Swanson (Noise Pop)
Over the past several years The American South has been teeming with innovative music and Charlotte North Carolina's own Flagship are poised to be the next to carve their name in the bark. Without flinching at the independent music world's overwrought penchant for novelty, Flagship harnesses the un-teachable quality of transparent emotional depth.
Flagship is a musical force that approaches a ...wide spectrum of musical landscapes with natural fluidity. Steering the ship at the helm, Drake Margolnick's chameleon like ability to alter his vocal approach to jive with a particular song's mood is key to the group's tendency to make songs with severe emotional depth. Whether offering a fearsome, throat shredding, angst ridden scream in the western romp, "Native on The Run" or a warm heartbreaking falsetto over shimmering guitars and swirling organs on "Older," Margolnick gets were he needs to go vocally without difficulty or showmanship. Assuredly, this effortless ability to match the feeling his band mates conjure has everything to do with his poignancy at the lyrical plate. When Margolnick mourns, "I lost my baby" you feel it, because he feels it, and his band feels it.
Fresh off his impressive solo effort "Taylorsville" that saw Drake wearing every hat on the stand from drummer, and guitar player, to producer and arranger. Margolnick's newer material is truly a warp speed maturation from his debut, wherein Drake hands-off the musical reigns to his new band. This musical freedom pays off beautifully finding the band comfortably traversing varying musical territories ranging from the alternative folk tendencies of Grizzly Bear's 'Yellow House' or the beautifully atmospheric swells of Sleeping At Last, and even to the frenzied passion of fellow southerners Colour Revolt.
Drake says he feels at home when he's writing songs even though his concept of home was fairly amorphous as a kid living in a family stretched across the country. His songs clearly reflect the pain, doubts, and love of a young modern struggling with the world – but they also offer a sense of contentment with these sometimes fear-ridden aspects of living. Margolnick remains hopeful without losing grip on reality and it's contagious. In the Dylan-esque "Henry Esmond," he asks, "In the light, in the light can you see it?" Here, (as in most of his songs) Drake refuses to dabble with lofty concept-abstractions that too often collapse into meaningless, instead opting to lyrically draw from the spiritual well of his youth to ask questions, dream, and wrestle with life.
Further information will be made available in due course.