Hello, Blue Roses sweetheart duo Dan Bejar of Destroyer and lady Sydney Vermont announce rare live performance, fittingly tied to Valentine’s Day

Hello, Blue Roses sweetheart duo Dan Bejar of Destroyer and lady Sydney Vermont announce rare live performance, fittingly tied to Valentine’s Day

Debut album The Portrait Is Finished and I Have Failed to Capture Your Beauty… released by Locust Music.

The romantically entwined duo of Dan Bejar (Destoyer, Swan Lake, New Pornographers) and Sydney Vermont (Visual artist, Bonaparte vocalist, former Toronto Children’s Choir kid singer) performing under the moniker Hello, Blue Roses have announced one of very few live shows for the year. This rare public appearance from these lovebirds — fittingly booked the week of Valentine’s Day — takes place February 16th in Brooklyn, NY at Glasslands (289 Kent Ave.)

Hello, Blue Roses’ 13-track debut was recently released by Chicago-based label Locust Music. The disc, titled The Portrait Is Finished and I Have Failed to Capture Your Beauty… draws on everything from an unabashed love of 80s AOR a la Prefab Sprout and Kate Bush to prime Aquarian-age femme folk of the 60s & 70s to create an infectious, readymade classic.

“When I listen to the sound of it, I hear European pastoral music butting up against a harsh 80s reality,” Bejar says. “The Hello, Blue Roses songs are completely untethered to any of the bullshit streams coursing through the scene right now. That’s just how Syd writes them; it’s not her fault. They’re completely melodious, but still so strange. It’s a product of not really caring what people think, but still caring a lot about people.”

“Dan supports every strange idea I have ever had,” says Vermont, “and then we craft it into something to our liking. We hear different things in the songs and try to bring both visions into it, which involves a lot of trust and generosity, because we are very different. It makes for an overall eclectic sound, which still has its own organic logic.”

The band’s decision to team up with Locust Music is totally apropos given the celebrated label’s wide-eyed approach and Hello Blue Roses’ own deeply accessible but eclectic sound. “The roster seemed impossibly all over the place, and also not tied down to any era or genre,” Bejar says. “But once you start looking at everything they’ve done, it’s pretty impressive and head-scratching.”

Just as Bejar and Vermont thoughtfully describe Hello, Blue Roses, Locust Music head Dawson Prater eloquently places the band’s work in fitting context. “Outside of the influences of 60s-70s singer-songwriters, Dan and Sydney are touching on some of the popular music of the 80s that a lot of us 30-somethings have lived with whether we liked it or not,” Prater says. “At the heart of it, I think all of we’ve got this repository in our heads where popular music takes root and Hello, Blue Roses have gone there in a totally unironic way and recast the sweetness and mismatched optimism of the music of the Reagan era to the way it should sound, the way this stuff often sounds in our heads and that’s what timelessness is all about.”

Hello Blue Roses Live:

02/16 Brooklyn, NY Glasslands
(289 Kent Ave.) w/ Begushkin

Hello Blue Roses Tracklisting:

Stream The Album HERE

Release Date: January 22, 2008

01. Hello Blue Roses
02. Scarecrow
03. Paquita Reads By Candlelight
04. Shadow Falls (MP3)
05. Heron Song
06. St. Angela
07. Coming Through Imposture
08. Golden Fruit
09. Come Darkness
10. Sunny Skies (MP3)
11. Mediterranean Snow
12. Skeleton Aim
13. Sickly Star
14. Hymn

The Diggs dish up swirling dream pop epics and anthems about frustration, anxiety on upcoming album ctrl-alt-del.

The Diggs dish up swirling dream pop epics and anthems about frustration, anxiety on upcoming album ctrl-alt-del.

“Straightforward indie rock, just like you listened to in the 90’s. Are you noticing this? The 90’s are fucking hot.” — Mike Conklin, The L Magazine

ctrl-alt-del, the upcoming album by The Diggs, expands on the aesthetic laid forth by the band’s previous album Commute while refining their big sound with leaner and more concise arrangements. The tone of the new record is frantic and at times haunting. However, there is a glimmer of hope embedded throughout, where disillusion is broached with nostalgia, and angst is juxtaposed with optimism.

The result is twelve cinematic songs about redemption. STREAM ctrl-alt-del.

* “This Emphatically” — Arena rock burner with huge guitars and big vocals; a definitive track one.
* “Careen”– The first single, catchy mid-nineties indie guitar pop.
* “ctrl-alt-del” — Pre-emo anthemic indie rocker with layered guitars and bold vocals blared with regret.
* “…And in the End Shoot Back”– A beautiful cinematic snapshot about heartbreak with lyrics lifted from a deceased friend of the band’s (Brendan Colin Xavier Darcy) unfinished novel.
* “Anagrams”– Gorgeous indie pop with an infectious sing along chorus.
* “Brigante”– A dark mid-tempo rocker with a huge build up addressing the anxiety of modern inner city life.
* “Recovery Forever”– Arpeggio driven shoegaze ballad. Brutally honest lyrics and haunting vocals obscured under the guise of humility and latent desire; the centerpiece of the album.
* “Brightness Falls”– Jangly punk tune with a strong pop radio sensibility.
* “Collide/Collapse”– A pub rocker with a nod to Be Here Now era Oasis.
* “Carpal Tunnel”– Progressive power pop anchored by a glockenspiel showcasing Schmid’s percussive virtuosity.
* “You Really Used to Light up the Room”– Intense echoing indie epic with an explosive build up and climax. The apex of the record.
* “Vitamins”– Optimistic coda and the falling action to “…Light Up The Room” ending the record with a glimmer of hope.

Attention New Yorkers!

Join us on Wednesday, February 13 at Hi-Fi (19 Avenue A, NYC) for a listening party with The Diggs. Hear the new album ctrl-alt-del from 9PM-12AM.

More about The Diggs:

The Diggs are a Brooklyn-based band with a melodic Mid-nineties indie rock sound. Their sophomore LP ctrl-alt-del was recorded at Stratosphere Sound, the New York City studio owned by ex-Smashing Pumpkins guitarist James Iha and Fountain of Wayne’s Adam Schlesinger. The record was produced and mixed by Rudyard Lee Cullers (Ryan Adams’ Rock N’ Roll, Yeah Yeah Yeah’s Isis EP) and mastered by Howie Weinberg (Sonic Youth’s Daydream Nation, Nirvana’s Nevermind, Oasis’ Definitely Maybe) at Masterdisk.

The Diggs formed in late 2003 in Mineola, a town on the north shore of Long Island. Lannen and Haussmann were roommates at the time looking to keep momentum after a band they were in together broke up. They formed The Diggs the day after their former band dissolved. Together they recruited a high school classmate of Lannen’s named Erik Dose to play drums. During Dose’s brief tenure with the band, they produced a demo/EP called Parahora in the kitchen of their apartment with his equipment. They recorded mostly at night while their El Salvadorian gangster neighbors sold coke and ran guns out of the downstairs apartment.

After Dose left the band, The Diggs started rehearsing with their former band mate Jim Mansfield who agreed to play live until they could find a permanent drummer. The Diggs played their first shows in May 2004. Off the strength of the demo, Universal Records sent an A&R rep. to their first gig at the old Luna Lounge and their second show at Trash Bar in Brooklyn was a bill with Clap Your Hands Say Yeah!

The Diggs continued to rehearse drummers until they were introduced to Charlie Schmid through a friend of a friend. He immediately clicked and joined the band in September 2004. During this time, Lannen and Haussmann relocated to Brooklyn (Bushwick and Carroll Gardens respectively). They continued to write songs and play shows in Brooklyn/NYC. Then in November 2004, they began to record a new EP titled Orange in Huntington, NY with producer Phil Jimenez (ex-Wheatus). A couple of their friends decided to start a record label called Sugarspun Records and signed The Diggs in March of 2005, releasing Orange in May. By June the rest of New York really started to take notice. After a sold out show at The Delancey with Ghostland Observatory in late June, The Diggs were suddenly the toast of the blogosphere. Their EP piqued the interest of Fabtone Records in Japan. Fabtone wanted to put out a full length, so The Diggs returned to Jimenez’s studio and recorded their debut LP Commute which they completed in October 2005. Fabtone began distributing the record in January 2006.

Commute was well received by Time Out New York, The Village Voice, MSNBC.com, and The L Magazine, as well as countless blogs. The record was full of swirling dream pop epics and anthems about frustration and anxiety. The record charted on KEXP radio in Seattle in February and March of 2006 landing them an in-studio performance for the station that May. The Diggs went on to share bills with The View, Midlake, Jeremy Enigk (ex-Sunny Day Real Estate), The Most Serene Republic, Annuals, Pela, Field Music, and Amusement Parks On Fire to name a few.

ctrl-alt-del Tracklisting:

Stream The Album HERE

Release Date: 03.11.08

01. This Emphatically
02. Careen
03. ctrl-alt-del
04….And in the End Shoot Back
05. Anagrams
06. Brigante
07. Recovery Forever
08. Brightness Falls
09. Collide/Collapse
10. Carpal Tunnel
11. You Really Used to Light up the Room
12. Vitamins

Chiptune maestro Laromlab sees Daft Punk covers get un-posted by Missingtoof.com, spun by DJ AM. Creator of new dance hits out of old video games embarks on “Consoles Afire” tour in support of Mushpot album

Chiptune maestro Laromlab sees Daft Punk covers get un-posted by Missingtoof.com, spun by DJ AM. Creator of new dance hits out of old video games embarks on “Consoles Afire” tour in support of Mushpot album.

“8-bits is more than enough to get funky.”– Missingtoof.com

Laromlab is a chiptune maestro. And what are chiptunes? Chiptunes are songs composed in a format whereby all the sounds are synthesized in real time by a computer or video game console sound chip, instead of a sample-based synthesis. To understand and appreciate what this means, one needs only to have been a video game addict in the days of the Commodore 64, Atari or the almighty Nintendo Entertainment System.

Equipped with an arsenal of Atari 1040STE, Atari Falcon 030, Commodore 64 emulators, samplers and laptops, Laromlab — the nom-de-tune of Brandon Harrod — calls out every 80’s child to the dance floor through the classic blips of old school video game systems. Still wondering? Ready? Then go ahead and stream Laromlab’s upcoming self-titled Mushpot Records full-length HERE.

As Laromlab’s profile has grown, so has the attention – both good and bad. Noted remix website Missingtoof.com recently shared Laromlab’s chiptune reinterpretations of two Daft Punk classics only to be informed that they would have to be removed shortly thereafter. No matter – the cuts are already becoming as popular in Los Angeles clubs as the originals! Peer through the herky jerky camera work and enjoy DJ AM and MSTRKRFT getting down to Laromlab’s version of Daft Punk’s “Around The World”.

Laromlab’s consistent and prolific blend of crunchy electro, layered blips and punk influenced grooves a la Bitshifter, the aforementioned Daft Punk and Justice (word has it that Justice’s Gaspard Augé is a fan) piqued the interest of Mushpot Records in 2007. Based in Bowling Green, Kentucky, Harrod had been tweaking his chiptunes in his home studio for years, resulting in the self-released albums Gameboy Chronicles, Hate The Player Not The Gameboy and Combat School. Now, Mushpot’s partnership with Laromlab has resulted in the self-titled Laromlab album, due this month. Laromlab recently embarked on a two-month winter tour with Robot Cowboy to promote the record. See below for a complete list of dates and be sure to contact Vai Godhania at Fanatic with guest list requests.

Laromlab Live (w/ Robot Cowboy)

02/04 Phoenix, AZ Trunk Space
02/05 Los Angeles, CA Motion Lounge
02/06 Isla Vista, CA Biko Garage Co-op
02/08 San Francisco, CA House of Shields
02/09 Davis, CA Delta of Venus
02/11 Eugene, OR Cozmic Pizza
02/13 Portland, OR Holocene
02/14 Olympia, WA Le Voyeur
02/15 Seattle, WA Dog Park (House Show)
02/16 Missoula, MT The Palace
02/17 Bismarck, ND Youthworks
02/18 Minneapolis, MS 400 Bar
02/19 Ames, IA TBD
02/20 Chicago, IL AV-Aerie
02/21 Detroit, MI Scrummage University
02/22 Toronto, ON Sneaky Dees
02/23 Albany, NY Valentines
02/24 New York City, NY 200 Orchard
02/25 New York, NY Cake Shop
02/26 New Brunswick, NJ Hidden Cities
02/27 Philadelphia, PA The Fire
02/28 Arlington, VA Metro Gallery
02/29 Washington, DC TBD
03/01 Fredricksburg, VA TBD
03/03 Bloomington, IN The Cinemat
03/05 Louisville KY TBD

03/06 Bowling Green, KY Retrograde Studios (End of Tour Party!)

Laromlab Tracklisting:

Stream The Album HERE

Release Date: February 12th, 2008

01. Rock!! Hard!!!
02. Mission For Glory
03. C: Dancer
04. Phat and Phnky Pt. 1
05. Zipp Zapp
06. They’re Back!!!
07. Za Groove
08. Sid Attax
09. Return of Da Stomp
10. Punkfunk
11. Nightdrive (MP3)
12. T-Girl
13. Hidden Track

UK sensations Enter Shikari return to the US announcing Coachella and SXSW. They’re kicking it all off with a string of West coast dates this February!

UK sensations Enter Shikari return to the US announcing Coachella and SXSW. They’re kicking it all off with a string of West coast dates this February!

“Already big in Britain, Enter Shikari bring a fresh twist to the frequently botched dream of rocktronica. Where The Prodigy merged rave dynamics with cartoon punk tantrums, Shikari mesh hacking guitar riffs with serenely celestial synth- ripples.” Simon Reynolds, Blender Magazine

“Enter Shikari have no interest in staying obscure. The internet storming quartet wed hardcore punk’s most crowd-rallying elements-intense breakdowns and gang vocals – to the melodic buildup of that most populist of dance genres-trance.” Aaron Burgess, SPIN ***1/2

“Enter Shikari…have become the figureheads of a new anything-goes generation…Their marriage of both types of hardcore (techno and punk) and a flirtation with the trappings of rave culture have resulted in a unique combination that fuses the hard-hitting wide-eyed delivery of the Prodigy with the proto-screamo dynamics of Refused….” -Alternative Press

8 Feb 2008
6pm
Neumos (with Aiden)
Seattle, Washington

9 Feb 2008
6pm
Hawthorne Theatre (with Aiden)
Portland, Oregon

12 Feb 2008
6pm
New Oasis (with Aiden & Madina Lake)
Reno, Nevada

13 Feb 2008
6pm
Modesto (with Aiden & Madina Lake)
Modesto, California

14 Feb 2008
6pm
Glasshouse
Pomona, California

16 Feb 2008
7pm
Knitting Factory (with A Static Lullabye)
Los Angeles, California

17 Feb 2008
7pm
tbc (with A Static Lullabye)
San Diego, California

Enter Shikari will also be making their SXSW debut this March in addition to playing Coachella on Saturday April 26

For all media inquiries, guest list spots, and interviews contact:
SiouxZ@magnumpr.net

“(Enter Shikari) are quite simply the best band in the world today. “I saw Enter Shikari live last October (06), before I got ill with cancer, and the sight of these boys on stage with 200 15-year-old kids with glow-sticks and glow rings going f**king berserk was exciting.” – Tony Wilson on Pitchfork

High in energy, defiantly independent, unabashedly ambitious and equipped with a wealth of musical knowledge and a thirst for more. Collectively as a band and individually, each member offers a little something special to the “Mothership” that is Enter Shikari. Onstage, they’re like un-caged animals, roaming the stage and climbing the equipment, simply reaffirming this is where they are most at home, with their fans. Each member, in constant motion… one climbing his keyboards, another has been known to walk on the hands of their audience and crowd surf himself to the back of the room only to reach and climb the balcony above. It’s also a common sight for them to put their instruments aside for a minute or two to have a dance with the crowd, for good measure.

In true Keith Moon fashion, Rolfe is quite possibly the wildest member in the band, he is blatantly unable to physically stay behind his drum kit through out the set, continually moving stage front during (the) synthesized parts of songs – he’s a key element into what gets the crowd excited and what makes this band so utterly unique in their performances.

Young Love recording artists Quitzow and Setting Sun launch west coast tour, new albums due in late spring from both multi-disciplinary acts merging classical, folk, pop and electronic rock sounds.

Young Love recording artists Quitzow and Setting Sun launch west coast tour, new albums due in late spring from both multi-disciplinary acts merging classical, folk, pop and electronic rock sounds.

“Erica Q rocks the mic like an ethereal hybrid of Jeff Buckley, Siouxsie Sioux, and Toni Halliday.” – San Francisco Bay Guardian

“Levitt wails with toned-down tinges of Kurt Cobain’s emptiness and Elliot Smith’s pain.” – West Coast Performer

New York State multi-instrumentalist artists Quitzow and Setting Sun have announced west coast tour dates in February to showcase songs from both bands’ forthcoming albums on Young Love Records. The two groups share more than a label and tour dates, however. Quitzow, the namesake of songwriter/singer/multi-instrumentalist Erica Quitzow features Setting Sun songwriter/guitarist/vocalist Gary Levitt alternately adding bass, drums and vocals to its live shows. Likewise, the Levitt-led Setting Sun band includes Erica Quitzow on violin and backing vocals.

Along with this kinship, both groups share an open interest in cross-breeding musical forms, merging classical strings (violin and cello especially), folk, chamber pop and hints of early electronic rock. The results are truly refreshing. Setting Sun has been compared to Merge artists The Radar Brothers, Elliot Smith at his darkest and early Nick Drake. Quitzow invites nods like “Solex meets Liz Phair” and “combining the fun of Peaches with the intelligence of Lori Anderson.” The intrigued are invited to hear for themselves during the upcoming string of west coast dates from the 5th to 12th of February. Please see complete dates below.

Quitzow / Setting Sun Live:
02/05 Los Angeles, CA @ Silverlake Lounge
02/06 San Francisco, CA @ Thee Parkside Lounge
02/07 Sacramento, CA @ Old Ironsides
02/08 Arcada, CA @ Mosgos
02/09 Eugene, OR @ Shady Pines
02/10 Portland, OR @ Ash St. Saloon
02/11 Seattle, WA @ The High Dive
02/12 Olympia, WA @ The Royal

Quitzow – Art College Album Tracklisting:

Release Date: May 13th, 2008

01. Art College
02. Sponsor
03. On TV! (MP3)
04. Peanut
05. Better Than Ever
06. Stay Away From John
07. Love
08. Slept in my Car with a Kitchen Knife
09. Cats R People 2
10. Rhythm Machine
11. Unripened Fruit
12. Jackpot

More about Quitzow:

“Juggling mind-blowing moog/Rhodes/bass while singing,” playing Tchaikovsky in The Woodstock Chamber Orchestra, and creating Fender Rhodes loops layered with MPC drums, moog bass, cellos, violins and vocals, Erica Quitzow brings a wide diversity to her records and live performances. With a self-titled debut album and an upcoming second release, Erica is involved in various musical projects exploring new influences for her inner child gone wild, neo-post electro-pop sound. The new record, Art College, out in spring 2008 on Young Love Records, is a collection of sing-along pop song collages with orchestral arrangement over hip hop, electro-clash, and downtempo beats decorated with adventurous harmonies. Instrumentation is performed primarily by Erica and includes MPC, Reason and live drums layered with Moogs and korgs, Rhodes, Casios, classical and electric guitars, bass, cellos, violins, various percussion instruments with her alternately playful and woeful vocal style. The record was self-recorded in her upstate New York home with production and mixing assistance by band and label-mate, Gary Levitt.

Erica’s debut album, Quitzow, was self-recorded in her previous Los Angeles home and was built on the same acoustic/electronic collage elements as Art College. Again, she played most of the instruments, creating a high-drama palate, and always going for the extreme. While the use of strings in songs like “Drink-Up” sometimes conjures images of Rasputina with a similar Sabbath-style heaviness, often comparisons are elusive as in the cartoon-like playfulness of “R. Crumb.” Elsewhere, “Know Me” is complex and layered, evoking a Todd Rundgren soundscape with passionate screaming vocals reminiscent of Patti Smith.

The live performances include music from both records and ranges from solo cello/guitar and vocals to full band renditions. The upcoming west coast and national tours will be with a five piece band including cello, live and electronic drums, bass, backing vocals and percussion, with Erica on moog, Korg, guitar and vocals.

Among the other projects Erica is involved in is playing violin, cello and singing back up for the Setting Sun live show, as well as playing drums and keyboards on the recordings. Gary Levitt, leader of Setting Sun, is her partner in running Young Love Records and plays bass and sings back up for Quitzow. The bands tour together, share various band members, and assist each other in recording. Erica sometimes plays violin for The Woodstock Chamber Orchestra, working to develop the orchestrations on her recordings by studying the compositions of Tchaikovsky and Copeland, among others. She records strings on an array of projects, recently working with Tony Levin, Garth Hudson, and Malcom Burns on Sarah Perotta’s record, The Well.

Past projects include singing and playing bass in the critically acclaimed Heavy Pebble, a New York/San Francisco based experimental band that toured the west coast. More recently she played moog, Rhodes, and bass with Jennifer Turner (of Natalie Merchant’s band) in Los Angeles indie-pop band, Inner. The first record was recorded in Nellie Hooper’s London studio. (Bjork, Massive Attack) This band toured practically nonstop for its three-year incarnation to rapidly growing audience, a positive press response and national college radio play.

Quitzow will tour the full US in June, and plans to tour Europe in the near future.

Setting Sun – To The Next Place Album Tracklisting:

Release Date: May 6th, 2008

01. What We Wanted
02. How Long
03. No Devil Me No More
04. Carry Me Away
05. Overjoyed
06. Slob
07. Love My Love
08. Not Waste (MP3)
09. Inside My Love
10. Morning Song
11. Happy Joy

More about Setting Sun:

Lovers of great songs with inventive and honest sounds can take heart. This third record from Setting Sun really shines. Aptly titled To The Next Place this new record shows Setting Sun going just there. With an intimate lyrical style, each word is slowly tasted before being spoken and set against driving beats, lashing cellos, soothing instrumental interludes and a rich cortege of violins, synthesizers and homemade sounds. All the while never losing its focus on the song with its layers of edgy counterpoint melody, lifting harmonies and soundscapes.

Having lived and created in New York, Los Angeles and San Francisco, Setting Sun’s sound bears the mark of each of these environments. The grime and grit of New York, the quirky artiness of San Francisco and the lilting sunshine of LA… all are orchestrally present in the music. Levitt now resides in upstate NY in the beautiful Hudson Valley where he has completed this third record.

The album was self produced with many friends lending their playing skills. Most noticeably on the record are the string arrangements expertly played by band- and label-mate Erica Quitzow. Set up in a spare room of the house, Quitzow and Setting Sun share a home studio, Young Love Recording Studio. Initially built to record themselves, Gary soon began taking on outside clients. “I love helping other artists work on their music,” says Levitt. “If they come in with just bare-bones sketches of songs and want to expand on them, I’ll come up with ideas that add to the songs but don’t compete with them.” Gary also plays bass and sings harmonies for Erica’s band Quitzow.

A veteran of the indie music scene, Levitt started as a member of feverish NY band The Kung-Fu Grip. After four years of relentless touring, they made their way out to San Francisco where they paired down their numbers to a tightly focused three piece, all providing vocals for their cathartic, shock art sound. Levitt simultaneously formed Heavy Pebble with Erica Quitzow, becoming a hit in the music scene in San Francisco and touring the west coast, playing their quirky pop songs with post-modernist film collage projections to crowded houses and critical acclaim. After various line-up changes and key members leaving, both groups disbanded.

Upon having these long term projects fall apart leaving Levitt with no material to perform, he decided his next project would be solely his own. Levitt sequestered himself in a friend’s SF apartment with some borrowed gear and “two cheap microphones” to record what was to become Setting Sun’s debut, the appropriately titled Holed Up. Marked by a sense of palpable urgency, the album seamlessly fuses Levitt’s chief references—warm acoustic guitar, melodic counterpoint bent Beatles/Bowie pop, loud/quiet Pixies/Nirvana dynamics—into a catchy and inversely intimate lo-fi blend.

As Holed Up was nearly finished, Levitt was invited to play guitar for Virgin recording artist Jennifer Turner. He flew to London and recorded in Nellee Hooper’s (Bjork, Smashing Pumpkins) studio, putting his own album on the shelf. The band that formed was named Inner, and the record, containing two songs written by Gary, received critical acclaim and international airplay. After relocating to Los Angeles and touring to support the record, Levitt left the band to focus on his own music.

Back to Setting Sun… Young Love Records released Holed Up to much critical acclaim coinciding with the group touring regularly, performing as a trio. Gary also embarked on two separate one-month-long solo tours, playing every night, often paired with daytime radio and college shows, and sleeping where he could. He settled home eventually and began writing and recording his sophomore CD, Math and Magic.

Curious to hear Setting Sun’s potential with outside production assistance, Levitt embarked on the recording of his second album with producer Richard Chiu. With a different approach than the solo explorations of Holed Up, Math and Magic is more polished, produced and collaborative than its lo-fi experimental predecessor. The intimacy of Holed Up is not lost, but perhaps served on a cleaner plate. Released on Young Love Records in 2005, songs “The Only One” and “Found it by Midnite” can be heard in the short film ‘Paper Jam’, which won several awards in the festival circuit including Best Music. Setting Sun has been getting increasing attention from the film and television industries. As more people get exposed many find the music to be a natural fit with the moving image.

With this breakthrough third release, 2008 is sure to take Setting Sun To The Next Place.