Music Releases 08-31-18
Passenger is Mike Rosenberg, the Brighton-born singer/songwriter known for busking his way to the global hit “Let Her Go” which topped the charts in 19 countries. Produced by Rosenberg, along with longtime collaborator Chris Vallejo, the new album is largely inspired by the North American landscape and geography, both musically and lyrically, and taps into Rosenberg’s family roots in New Jersey. This brings a fresh new approach and sound, and speaks to the road going traveler in all of us.
Although civilization’s transition into a cyborg world seems inevitable, there are still those who recognize the beauty and power of a human touch to complement the circumvention. Jack Tatum understands this balance, and through a decade making music as Wild Nothing he has learned to embrace both sides of that dynamic—but perhaps never as distinctly as on Indigo, the fourth Wild Nothing album. On one hand, it is a return to the fresh, transcendent sweep of his debut, 2010’s Gemini, and on the other, a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause. Indigo finds Tatum at his most efficient, calculated, and confident—resulting in an artful blend of hi-fi humanity and technology that fires on all circuits and synapses.
To make Indigo, Tatum confronted the Man vs. Machine dichotomy by seizing on the surrounding synergy. Finding the right people to work on the album was integral, as was the proper place to record it. So, Tatum booked four days at legendary Sunset Sound’s Studio. Afterwards, producer Jorge Elbrecht (Ariel Pink, Gang Gang Dance, Japanese Breakfast) and Tatum built out the rest of the album’s sound by adding new parts and repurposing sounds from Tatum’s demos. The resulting Indigo is its own cyborg world, utilizing the artful mechanisms of human touch with the precision of technology to create the classic, pristine sound Tatum had been seeking his entire career. From the opening drum beat, chiming guitar, and sweeping synth of “Letting Go” to Tatum’s Bryan Ferry vocal turn on “Oscillation” to the ’80s-heavy blips, clicks, and strut of “Partners in Motion,” it’s clear that Indigo is at once vintage Wild Nothing and a bold, new leap into a bigger arena.
Most people know Aaron Lee Tasjan as one of the wittiest, most offbeat, brilliant, weed-smokin’ & LSD microdosin’ Americana troubadours writing and singing songs today. And the New York Times, NPR and Rolling Stone will all gladly corroborate. But steel yourselves, folk fans, because he’s about to follow his restless muse straight out from under the weight of everyone’s expectations into the kind of glammy, jingle-jangle power-pop- and- psych-tinged sounds he hasn’t dabbled in since his younger days playing lead guitar for a late-period incarnation of The New York Dolls.
Karma for Cheap is Tasjan’s third LP and second for his label New West Records, based in his current hometown of Nashville. The record was co-produced by ALT and his friends Jeff Trott (Stevie Nicks, Liz Phair, Meiko, Joshua Radin) and Gregory Lattimer (Albert Hammond Jr.) and features Aaron Lee’s road band—guitarist Brian Wright, bassist Tommy Scifres and drummer Seth Earnest—with whom he’s been touring heavily for the last two years.
While the stylistic shift from Tasjan’s palpably stoned ‘70s-country-channeling 2015 debut, In the Blazes, to his more sophisticated, introspective and lushly produced 2016 follow-up, Silver Tears, was relatively incremental, Karma’s rocked-up Brit-pop-influenced Beatles-Bowie-Badfinger vibes underscore a significant departure. The album boldly reminagines these vintage sounds, pushing the boundary of what can be considered Americana.
The roots of Tasjan’s Karma for Cheap, stretch deep, drinking up the sounds of a Southern California childhood spent listening to The Beatles while riding around with his mom at the wheel of their navy blue Volvo station wagon—back to the very first pre-teen year he picked up a six-string and started figuring out all the pretty little chords in those Lennon-McCartney tunes. Back to the pure, blissful unfiltered innocence of falling in love with music for the first time. A huge sonic touchstone for ALT’s new record is The Beatles Anthology, one of his childhood favorites. In songs like “If Not Now When,” “Song Bird” and “The Rest Is Yet to Come,” you can hear echoes of George Harrison’s vibrant guitar riffs and Jeff Lynne’s lavish production on those lo-fi John Lennon demos the surviving Beatles dug up and polished off in the mid ‘90s.
Perhaps the most poignant moment on Karma for Cheap is the anthemic, hypnotic “Heart Slows Down,” a tune rife with musical and lyrical references to the Beatles and Tom Petty, anchored by an unforgettable chorus with a Traveling Wilburys vibe that finds the sweet spot between Tasjan’s two earliest musical heroes. “When I was a kid, my favorite CD to fall asleep to was Tom Petty & the Heartbreakers’ Greatest Hits, and the last song is a cover of that Thunderclap Newman song ‘Something in the Air.’ From the time I was a little kid to when I was teenager, I used to listen to that song on headphones almost every night—I heard it in that space between wake and sleep so many times. And Tom’s passing—he was a really big hero of mine, so it hit me pretty hard. We were in Seattle playing a show when I heard, and it was a heavy thing to process. But all of those elements are there in ‘Heart Slows Down.’ The chorus, ‘I will always be around,’ is a reminder that all the good you ever got out of listening to this music is still around you. You’ll always have that.”
Aaron Lee Tasjan says he aims to use his music for good, but he’s no protest singer. And Karma for Cheap isn’t some heavy-handed, didactic political record cramming a set of talking points down anyone’s throat. It’s a finely tuned rock & roll seismograph measuring the dark and uncertain vibrations of the time in which it was created. A cracked mirror reflecting back the American zeitgeist in this foul year of Our Lord, Two Thousand and Eighteen. With Karma, Tasjan establishes himself as an artist who not only evolves over time, but isn’t afraid to risk reinventing himself completely from one record to the next.
TASH SULTANA is a dynamic young artist who has commanded world attention since homemade videos of Tash jamming went viral. A true virtuoso, Tash was soon selling out massive theaters globally and playing at the world's biggest festivals - no mean feat for an artist who just a year before was recording songs on a go pro in a bedroom. The virtuosic playing of over 18 instruments, vocals that shine with a magical quality and the natural gift for melody that Tash possesses needs to be seen to be believed. Tash has sold over 200K tickets globally with 50K in the US, is selling out theaters and clubs around the world, played major festivals including Coachella, Lollapalooza, Bonnaroo, ACL and more, and amassed hundreds of millions of streams globally on her Notion EP. Tash has received 4x Aria award nominations and multiple APRA nominations.
Bloom is an incomparably sweet and intimate work, and yet it's so well-named because from that base unfurls something grand and universal. It's also full of bops—a dizzy swirl of '80s synth-pop, crisp modern production, timeless balladry, and joyous dance—whose bold streaks and subtle shades effortlessly bridge arty to accessible. Sivan executed his vision with care, first writing with trusty collaborator-confidants Bram Inscore, Allie X, and Leland, then taking those songs to producer Ariel Rechtshaid (HAIM, Usher, Kelela) and starting another batch in Sweden with Max Martin's MXM crew. He worked from a sonic moodboard—everyone from Madonna to This Mortal Coil, Phil Collins to Perfume Genius, Drake to Sky Ferreira—and emerged with a sound distinctly his own, but broad enough to span the liberating pulse of "My My My!," the epic stadium-rock of "Animal," and the cozy feel of Ariana Grande duet "Dance to This."
A multilinguistic singer, songwriter, performer and comedian, Gaillard swung in every genre with a uniquely funny, yet seriously musical, style. More than a crazy cult figure, he’s a hero to kids for his ditty “Down by the Station,” and his “Oronee” songs pepper the soundtrack of the FX series, Better Things. This collection presents every track he cut for Norman Granz’s pre-Verve labels, plus 16 rare singles recorded for MGM, and 10 previously unreleased alternate tracks.
Morrissey is never one to do things the accustomed way, instead throughout his career he's carved a niche in the musical landscape which only he can occupy. This Is Morrissey. A collection of studio classics, live tracks and the alternative Mael mix of the ever-popular ‘Suedehead', all chosen by the man himself. He explains all on this brand new interview for tremr.com, with this neat little summary of the tracks he's chosen: "The album is so full of life, and worthy questions, and great choruses, and quite playful."