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Latest Blog Posts

Brandon Seabrook Streams New Album “Sylphid Vitalizers” @ Brooklyn Vegan! 06.17.14


"Whatever the measure of volcanic heat Mr. Seabrook typically brings to his guitar and banjo playing, he doubles it on “Sylphid Vitalizers,” his experimental and maniacally focused new solo album." - THE NY TIMES

"An apocalyptic, supersonic general of the banjo (yes, the effing banjo), the ubiquitous Seabrook raises shreddage hell on a regular basis in his Brooklyn home base and beyond... Now, he's offering the obligatory yet essential solo record, further enriching his already vast oeuvre in the form of Sylphid Vitalizers, an epically dense lesson in brain-frying dynamics, fret-stomping virtuosity and banjo annihilation." - SPIN

"...Seabrook is in just-OD’d-on-speed-mode, deliriously zipping from Mick Barr-like metallic klassi-killing fingerage, Glenn Branca/Rhys Chatham/Sonic Youth dissonant guitar army textures and explosions and mind-blowing prog-rock complexities - all at mind-numbing breakneck speed." - NOISEY

"...he plays four-string banjo, but he's no folksy wannabe. He shreds the hell out of an electric guitar in search of circular micro-patterns, but he's not Mick Barr. He composes out-there avant-garde, but his music has a direct impact. His M.O. is to set expectations askew, changing the perspective just enough to discover new territory in places once thought to be extensively mapped and codified." - BROOKLYN VEGAN

Sylphid Vitalizers is the new full-length album from New York-based banjo/guitar shredder, Brandon Seabrook. Named "NYC's Best Guitarist of 2012" by the Village Voice, his work has been profiled by NPR, The Wall Street Journal, Fret Board Journal, and the UK avant-music magazine, Wire. Seabrook's work typically reflects the energy, dissonance, and hardworking ethos of the creative rock underground, without falling victim to the aesthetic constraints of scene or genre. Sylphid Vitalizers is no exception, harnessing hyperreal technique and impeccable articulation to stratify ecstatic cacophony, bridging the realms of extreme rock and the classical avant-garde.

Recognized by the New York Times as "a man apparently hellbent on earning the title of World's Least Rustic Banjo Player." Seabrook’s aggressive punk appropriation of the four-stringed banjo is abundantly evidenced on Sylphid Vitalizers. Album opener 'Ballad of Newfangled Vicissitudes' opens with a series of multi-tracked, dissonant modulations, somewhat reminiscent of the classic guitar orchestras of Glenn Branca and Rhys Chatham, before cresting the heavens and laying waste to the stratosphere. The tune is constructed on a framework that bookends expanses of wide-open texture with dissonant, startlingly fast runs, punctuated by pummeling drums. The guitar work is equally formidable, rendering terms like 'shred' and 'speed picking' laughably inchoate. 'Cabeza Spams & Aural Championships' opens with chromatic flurries in lockstep with the programmed drums before transfiguring into a set of stacked chords, blossoming in both intensity and surreal beauty, manifesting an hallucinatory landscape. 'Mucoidal Woolgathering' is another blistering piece for banjo, marrying a prolapsing, tumbling pentatonic run to layers of gnarled droning banjo before spiraling out of orbit. Even when the music is at the peak of density and freneticism, the music is executed with inhuman precision and dexterity.

Brandon's work treads a broad swath through contemporary underground music, dealing in everything from avant-jazz with Gerald Cleaver's Black Host and trumpeter Peter Evans' groups, to klezmer with Naftule's Dream, and collaborations with legends like Anthony Braxton and Elliott Sharp. His own vehicle, Seabrook Power Plant, have released two self-titled albums, fittingly titled Seabrook Power Plant I (2009) and Seabrook Power Plant II (2011), released on Brooklyn’s Loyal Label. On June 24, 2014, cosmic sound imprint New Atlantis Records will release his solo guitar/banjo debut, Sylphid Vitalizers, and the bar for solo electric guitar/banjo composition and performance may never be set higher.

ILLUSTRATIONS Premiere New Single “Iron Rain” @ Vice Magazine’s NOISEY.COM! 06.16.14


"The track barrels out of the gate with a gritty, chunky riff ready to stomp out anyone in their path with a fervor. That smoldering rift carries the punch of death 'n’ roll like Entombed’s Wolverine Blues, though it doesn’t rely on its guitar tones to carry it. Each kick and hit of the drum grooves in the midst of the thunderstorm of a riff, providing a crunchy dichotomy. Speaking of dichotomies, the song isn’t all kicks and stabs. Before you even realize it, the track hums down to a haunting piano piece to destabilize the structure of the song. It’s a little beguiling since the song doesn’t stay pretty for long, with Illustrations grabbing the piano hook and slamming it right back into the listener’s ears on a chariot of thundering guitars." -

Following the news of their new EP "Acts of God" out later this Summer, San Antonio based punk-infused hardcore band ILLUSTRATIONS have premiered the first track off the new release, titled "Iron Rain" streaming exclusively at Vice Magazine's

The new release will serve as one of a handful of new releases out this year, and will be followed by upcoming August US tour dates (more information and new music coming soon!).

Dust Moth (These Arms Are Snakes / Minus The Bear) Premieres New Song “Cusp” @ The AV Club 03.7.14

Stream "Cusp" from Dust Moth here!

Following their split 7” with LA’s Aeges released last October, Dust Moth now releases their debut EP, Dragon Mouth. A dense, layered genre-defying statement in six distinct movements. The band is comprised of current & former members of such influential bands as These Arms Are Snakes, Minus The Bear, Undertow, Aeges and XVIII Individual Eyes.

Taking the sound hinted at on their debut single “Toto,” the band has upped the ante for themselves across the board. The songs are deceptively heavy while simultaneously lush with atmosphere, as Irene Barbaric’s haunting croon floats effortlessly above it all. The album spans the emotional spectrum with some moments feeling unbearably morose and others feeling utterly triumphant. Few debut EPs sound this confident, this direct, or this special.

Dragon Mouth was produced, recorded, and mixed by Matt Bayles, who is also a full time member of the band (keys). His resume is no secret, and includes legendary bands such as Isis, Mastodon, Botch, Pearl Jam, Soundgarden and many more. It was then sent off to be mastered by Chris Common (Palms, Pelican, The Sword). The album will be released on April 22nd via The Mylene Sheath.

Pours (ex-Man Man / Santigold) Announce Debut s/t Album Out This Spring 02.24.14

Stream new song "Carry The Oar" @ here!

Pours is a Burlington, VT-based moody psychedelic duo comprised of Bryan Parmelee and Christopher Shar. By combining abstract electronic textures with heavy rhythms and hypnotic melodies they create music that is as sonically diverse as it is accessible, and large enough sounding to be mistaken for more than just a duo.

After years of extensive touring playing bass with Philadelphia art-rockers Man Man and later Santigold, Shar relocated to Burlington and began focusing on drums, where he would eventually meet and join forces with fellow VT transplant, Parmelee. After a few years of playing shows, recording demos, and refining their sound, Pours is preparing to release their self-titled debut LP, an ambitious and sprawling collection of tones and moods brilliantly blended into dense psychedelic tunes anchored with strong pop sensibilities.

The debut Pours release will be available this coming May 2014 on Section Sign Records, the new Burlington-based record label pressing an initial run of 500 copies.

Pours is:
Christopher Shar: drums, bass, samples
Bryan Parmelee: vocals, synths, guitar, samples

ILLUSTRATIONS Premiere New Song “Leave Me” @ 02.12.14

In support of their upcoming debut album, "In Vain," out February 25th, San Antonio's punk infused hardcore band ILLUSTRATIONS have premiered their latest track "Leave Me" streaming exclusively at Revolver Magazine's website,  (((LISTEN HERE!)))

"This electric sander to the skull of a song is gloriously unstable; it moves from circle-pit-inciting speed to head-bobbing groove to elephants marching maliciousness, all in under three minutes. This is good shit." - Metal Sucks

"The first few riffs in “Heaven” suggest straight-ahead metallic hardcore of the HM-2 collector’s variety. There’s a big, strutting mosh groove; the guitar and bass seethe with mids; the vocalist sounds like he might not have a tongue. But then, about halfway into the tune, one of the guitarists unexpectedly takes off into delay-pedal melody-land. Good cop/bad cop dynamics are endemic to the meeting points between metal and hardcore, but Illustrations play them more subtly than most. Wise choice." - Invisible Oranges

"In Vain is an onslaught of caustic death metal growls, bonecrushing guitar riffs, and unrelenting percussion; all executed with exemplary punk breeziness." - The Needle Drop

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