Brooklyn -via- San Francisco's post-punk trio Weekend will release their highly-anticipated sophomore LP Jinx (due out July 23rd) on Slumberland Records.

A Timeline:


Shaun Durkan (vocalist/bassist/guitarist) and Kevin Johnson (guitarist) first met and joined creative forces when they were just 12 years old, as bassists in the middle school band. Durkan's father, the singer in post-punk band Half Church, had exposed Shaun to venerable likes of Killing Joke and the Cure (evidence that both are heavy influences on this forthcoming release.)

Years later, Durkan and Johnson attended the San Francisco Art Institute, where drummer Abe Pedroza was Durkan's roommate. Known within their inner circles for having a near-machine-like drumming ability and love for all primarily obscure bands, Pedroza was quickly enlisted into what would become Weekend (serving as the band's second drummer, replacing Taylor Valentino who departed the band following the recording of the band's debut album, Sports)


Weekend officially formed in 2009 and recorded the Sports LP throughout the year at Ruminator Audio, which belongs to long-time friend and producer/engineer Monte Vallier (formerly of Jet Black Crayon, Swell, and Half Church- with Durkan's father). "When we wrote Sports it was an explosion of energy and ideas," Johnson says. "We'd been talking about doing the band for 10 years, so when we finally got together it was a cathartic release of energy and songs."

Throughout the next two years, the band found itself touring internationally with the Kills (Europe) and Wire (UK and US) and in Japan in support of the 2011's "Red" EP, which marked a sonic departure from the band's initial signature addiction to noise over clarity. "Red" (which was also produced by Monte Vallier) saw the band embrace sweeter melodies that encouraged Shaun to display his vocal abilities free from any distortion overlap.


The band spent most of 2012 writing, recording, and painstakingly mixing the 10 songs that comprise the album once again with Monte Vallier at Ruminator. As Monte was in Half Church and a close family friend of Shaun's, he had long ago offered his recording services since the very beginnings of the band. Despite the all-too-familiar time lapse of the recording and mixing process Durkan recounts the Jinx sessions as "the most trying though rewarding experience so far."

During this time, Weekend relocated cross-country to the already heavily saturated Brooklyn music scene. The trio had collectively grown weary of the trappings of home. Durkan states, "Feeling at home is evidence of stagnation and so I'm happy to say New York still feels alien to me." Despite the drastic change of scenery, he maintains "Geographically-based music scenes are for the most part defunct due to the internet but I don't think we'll ever be part of any scene. We stand on our own."

When asked to describe the album in 3 adjectives, Durkan stated, "Volatile. Cathartic. Bittersweet. The record is a collage of inspiration and ideas from each member of the band. Shards of experiences, images, smells, sounds molded into something we can collectively call ours." The album visually represents the music as well, through personal possessions of each band member that "had singular and emotional connections to and democratize it through a physical process. Painting the objects black adds a new, collective ownership over the previous personal meaning. [There is] the coalescence of our individual art to make something new, stark, and powerful." That Stark black visual sheen is compliments the songs that embody Jinx. Memories and experiences have been reinterpreted and recalled into existence from haunting, beautiful places. Each song on the album charges through a polarizing emotion through an ebb and flow of sounds both ominous and soothing. Lastly, the LP's presumably superstitious title compliments this body of work thematically. Shaun recalls his father nicknaming him "Jinx" as a boy. That name, like all the inspirations, emotions and experiences has returned to haunt the band - this time delivered with a lustrous and magnificent black sheen.

Fake Your Own Death

You don't have to die to start your life all over again, but you might have to pretend to. The members of Fake Your Own Death, a San Francisco band, are constantly reinventing their sound, their vision and the Mission District art scene that they call home. Starting over again seems to be the mantra in the band's debut release which came out in March, 2012, called "Invisible and Bulletproof". The music sounds fresh, vital and earnest while at the same time, vintage and honest. Lead singer, Terry Ashkinos (formerly of SF indie sensation Elephone), built this band around a belief that there are still genuine questions to be explored in art and rock 'n roll and he surrounded himself with musicians and artists from the SF scene. Together they create passionate, emotional music with explosive live shows. Working with an in-house producer, Sean Beresford, FYOD has created a collection of dramatic songs of dissatisfaction and simple bliss.

Described as literary, brutal and infectious, FYOD has been compared to bands like The National, Echo and the Bunnymen, The Arcade Fire, Sonic Youth and Interpol by both local and national press. The band is staples on Bagel Radio, Mutiny Radio, Soma FM, Radio Valencia and KUSF. FYOD has played several sold out shows as main support for Hockey, The Warlocks, You Say Party We Say Die, Admiral Radley at the Noise Pop Festival, Film School, White Denim as well as The Trail of the Dead at SXSW. Fake Your Own Death is comprised of Terry Ashkinos on vocals and guitar and Dan Francisco on drums.

Common Loon

This Illinois guitar/drums duo released their first EP entitled Dinosaur vs Early Man on the California indie label/art collective Ideal Utopia in January 2008, and have since then been perfecting their full-length debut LP slated for released February 2010. Hangin' out in the same musical chain gang of lovely noise 'n melodies as Japandroids, but with a subtle lazyness bringing their dark popsongs down to earth and up close and personal, these guys are using the simplest of tools to deliver what's basically warped and crooked pop songs.


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