Caffeine Alcohol Sunshine Money
Jared Mees and the Grown Children
$ 9.00
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Listen to the song "In the Fall"
Tender Loving Empire co-founder Jared Mees' second album Caffeine, Alcohol, Sunshine, Money is a meandering aural journey through multiple genres, time periods and perspectives. From the sci-fi themed orchestral epic "Trampling Daisies" to hoedown barn burner "In The Fall" to feel good pop gem "The Tallest Building in Hell", Jared Mees & The Grown Children deliver a diverse yet cohesive group of lyric-heavy power folk jams.
TLE-014 (2006) - 1. Bees
2. In The Fall
3. The Tallest Building in Hell
4. Oh No Oh My God
5. Excellent Time
6. Trampling Daisies
7. Strong Black Coffee
8. Wettin’ Down The Dirt
9. Slabtown (Friday Night)
10. Sunday Lord
11. 10:26
12. Surprise
13. A Note -
Jared Mees and the Grown Children Constant lineup changes and infrequent rehearsals would cause many bands to suffer, but they’ve become the lifeblood of Jared Mees & The Grown Children, giving the group’s live shows a devil-may-care energy and keeping the songs honest and raw. The band’s first incarnation was born on a Panamanian Island, where Mees, his wife Brianne—the co-founders of Tender Loving Empire—and two friends wrote the bulk of the songs that would eventually become If You Wanna Swim With The Sharks. After recording Sharks in L.A. with Brianne’s father, Bill Forbes, the couple moved to Portland, Oregon, and launched the fledgling Tender Loving Empire empire. Many more Grown Children incarnations would follow, each contributing to the full of the sprawling epic soundscapes and lucid lyrical imagery that Jared Mees & The Grown Children have come to be known for.
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TLE-082 (2019) - 1. Hazelwood
2. Rogue Dream
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Bells Atlas’ latest offering the mystic digs further into their soulful buoyancy to explore both sound and storytelling. Sandra Lawson-Ndu, Douglas Stuart, Geneva Harrison, and Derek Barber stumbled upon a new, more production-oriented process for songwriting-- which included sampling grainy phone recordings-- that elevates Bells Atlas’ already unique approach to psychedelic R&B. The spontaneity of the mystic’s creative process results in a raw, cosmic sound that is mirrored in its lyrics. The record can be seen as sci-fi fantasy of two first-generation Nigerian American women coming to terms with a mental health diagnosis, and at the same time, a very universal exploration of how we make sense of reality. “It’s about a truth seer and a skeptic trying to make sense of what’s mystical and what’s clinical,” frontwoman Sandra Lawson-Ndu says. The listener is made to consider the possibility of magic. Is it possible, for instance, that someone who navigates the world differently may have a deeper understanding of the universe? The mystic is a spectrum of deep emotionality, impulse, and even humour; a tool to explore the full dimension of our reality.
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Bio written by Eliza Cossio
TLE-081 (2019) - 1. My Death
2. Real Talk
3. Cuatro Crazy
4. Conocidos
5. Lightning Storms
6. Dieciséis
7. Boca Llena
8. Perder
9. Mujeres
10. Una Letra
11. Santa Sal
12. Bruja de Brujas
13. Follow Your Feet
14. De Lejos (Digital only bonus track)
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Y La Bamba has been many things, but at the heart of it is singer-songwriter Luz Elena Mendoza’s inquisitive sense of self. Their fifth record, Mujeres, carries on the Portland-based band’s affinity for spiritual contemplation, but goes a step further in telling a story with a full emotional spectrum. Coming off Ojos Del Sol, one of NPR’s Top 50 Albums of 2016, Mujeres exhibits the scope of Mendoza’s artistic voice like never before. “Soy como soy,” Mendoza says, and that declaration is the bold— even political— statement that positions Mujeres to be Y La Bamba’s most unbridled offering yet. Mendoza forges new narratives from old stories of heritage and family, tracing history while forging modern chicana feminism. The raw honesty of Mujeres is in fact the raw honesty of Mendoza. Armed with the emotionality of traditional música mexicana and the storytelling of American folk, Y La Bamba’s artistry is not just their musical ability but Mendoza’s search for unadulterated truth. It is in an ancestral journey in which Mendoza comes to terms with the influence and limitations of her upbringing. While there is a celebration of the Mexican creativity that has informed Mendoza’s life, there is a darker side to reconcile with. Where do mujeres fit in to the American story? What are the sins for which we are all guilty? How do different generations interact with the world? How can a culture become visible without being tokenized? It is no surprise that in Mujeres, Y La Bamba’s first record with Mendoza at the helm of production, Mendoza contemplates these questions to tell her story. But it is not just Mendoza’s story. Challenging a narrative and dealing with the emotionality of that effort— that is everyone’s story. Mujeres was recorded by Luz Elena Mendoza and Ryan Oxford at Color Therapy Studios and Besitos Fritos Studios in Portland, Oregon. Mixed by Jeff Bond, with Grace Bugbee on bass, John Niekrasz on drums, Margaret Wher Gibson on keys, and Ed Rodriguez and Ryan Oxford on electric guitar.
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Salt and Soap
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Listen to the song "Downpour"
Soulful noise pop, inspired, propellent psych pop… Trying to nail down the sound of Bells Atlas is a bit like narrating the inner workings of a kaleidoscope – where it's more about tripping out than nailing it down.
TLE-080 (2018) - 1. Overshare
2. Downpour
3. I Do Remain
4. The Mystic -
A surreal blend of r&b, psychedelia, jazz, and pop, rooted in the cultural bellwether of Oakland, CA, Bells Atlas has supported a number of international artists and shared the stage with acts such as Hiatus Kaiyote, Badbadnotgood, Bilal, Meshell Ndegeocello, W. Kamau Bell, Angélique Kidjo and more. They have also been making a name for themselves nationally as the touring band for NPR’s Snap Judgment since 2016, and recently wrapped up a sold-out tour supporting Bermuda Triangle, side-project of Alabama Shakes lead singer Brittany Howard. Channeling at once the ramshackle lo-fi beats of Tune-Yards and the sighing lullabies of Sade, Bells is like the passing bubbles of an unknown aquatic life-form, music percolates from depths untaken, playing in a deep blue pool of life, death and the fluid in-between.