Music Releases 09-07-18
140g Double Vinyl, single jacket with 16 tracks (14 songs + 2 instrumentals).
Paul McCartney invites you on a musical journey to Egypt Station, estimated time of arrival September 7, 2018 by way of Capitol Records. Sharing a title with one of Paul’s own paintings, Egypt Station is the first full album of all-new McCartney music since 2013’s international chart-topping NEW. Preceded by two of its tracks just released as double A-sides--plaintive ballad “I Don’t Know” and raucous stomper “Come On To Me”—Egypt Station was recorded between Los Angeles, London and Sussex, and produced (with the exception of one Ryan Tedder track) by Greg Kurstin (Adele, Beck, Foo Fighters).
Of the forthcoming album’s enigmatic title, Paul says, “I liked the words ‘Egypt Station.’ It reminded me of the ‘album’ albums we used to make.., Egypt Station starts off at the station on the first song and then each song is like a different station. So it gave us some idea to base all the songs around that. I think of it as a dream location that the music emanates from.”
True to the inspiration behind its title, Egypt Station’s 14 songs combine to convey a unique travelogue vibe. Between the opening and closing instrumentals “Station I” and “Station II,” each song finds Paul capturing a place or moment before transporting the listener seamlessly to the next destination. Stops along the way include an acoustic meditation on present day contentedness (“Happy With You”), a timeless anthem that would fit on virtually any album of any McCartney era (“People Want Peace”), and an epic multi-movement closer clocking in at seven minutes with a song suite structure harkening back to the days of Paul’s previous combos (“Despite Repeated Warnings”). The result is a kaleidoscopic journey through myriad musical locales and eras, yet firmly rooted in the here and now--with Paul’s singular unmistakable melodic and lyrical sensibility serving as a guide.
Produced by Simon and Roy Halee, who have worked together since the 1960s, the album features collaborations with a diverse array of artists who have joined Simon to lend fresh perspectives on 10 of the artist's favorite (though perhaps less-familiar) compositions drawn from the five-decade span of his illustrious solo career. Revisiting his repertoire, Simon has selected songs originally appearing on There Goes Rhymin' Simon (1973), Still Crazy After All These Years (1975), One-Trick Pony (1980), Hearts and Bones (1983), The Rhythm of The Saints (1990), You're The One (2000) and So Beautiful Or So What (2011), refreshing and transforming the compositions through new arrangements and a talented cast of guest musicians. Among the many artists joining Simon on In The Blue Light are jazz icons trumpeter Wynton Marsalis, guitarist Bill Frisell, drummers Jack DeJohnette and Steve Gadd and chamber ensemble quintet yMusic.
Set for release in September, Raise Vibration will be Lenny Kravitz’s 11th studio album released on CD and 2 LPs in multiple standard and deluxe formats. The record promises to be one of Kravitz’s most eclectic. “Low,” the song that got the whole process started, developed into a smooth funk showcase; what Kravitz calls “my Quincy Jones school” complete with horns and a string arrangement. The title track is lean power-trio rock, while the ballad “Here to Love” features Kravitz backed only by his piano and a string section. “Johnny Cash,” inspired by an encounter with the late legend, is what Kravitz jokingly calls “psychedelic funk meets country.” As usual, Kravitz plays most of the instruments himself, with longtime guitarist Craig Ross. Lenny Kravitz has transcended genre, style, race and class into a 20-year musical career, one which revels in the rich influences of '60s and '70s soul, rock and funk. Kravitz's talents as a writer, producer and multi-instrumentalist have resonated now through eleven studio albums into a timeless catalog. He has also won four consecutive GRAMMY Awards, setting a record for the most wins in the "Best Male Rock Vocal Performance" category.
Book of Bad Decisions, CLUTCH’s 12th studio album is scheduled for a worldwide release on September 7th, 2018 via their own Weathermaker Music label. The album was recorded at Sputnik Sound in Nashville, TN by producer Vance Powell (Jack White, Chris Stapleton, The Raconteurs, The Dead Weather) and consists of 15 new tracks. Professional observers in both the industry and media are intrigued by the band's consistent growth over the last couple of albums. From Earth Rocker to Psychic Warfare to now Book of Bad Decisions the band's output of quality music and relentless touring has never been greater. This release has had a very lengthy setup period. It is accompanied by four IG tracks all with their own videos and a social media campaign that has brought the four band members even closer to their old and new fans. Book of Bad Decisions is a cornerstone release in Clutch's long history of successfully reinventing themselves at every new turn.
Alina Baraz surprises fans with a new 9-song album prelude, The Color of You, that includes 8 new songs and "Electric" feat. Khalid. The prelude is her first extended release since the chart-topping Urban Flora EP and 2017's viral hit, "Electric" featuring Khalid. Using color as a metaphor and a means of describing the discovery of new emotions, the project sees Alina thrive with her trademark vocal effervescence while exploring new sensual and striking production directions. The Color of You thematically explores young love and musically captivates with an allover bigger sound, reflective of today's updated pop genre, a mix of R&B and electronic styles.
Unfortunately there were some manufacturing delays on the Alina Baraz The Color of You merchandise. All CD and LP's will now street on September 7th. Thank you for your patience.
Mothers attempt to exist in two places at once - both singular and collaborative, sprawling and concise, present and distant. Kristine Leschper, songwriter and founding member of the project, explains that it is in the space between opposites that she finds herself. The multifaceted is, by nature, fragmented - each facet reflecting a slightly different perspective of the whole. On their latest record, Render Another Ugly Method, the band attempts to gain an expanded view of its surroundings through splintered sound, thought, and image. Leschper began exploring songwriting when she moved to Athens, Georgia as a teenager. Inspired by the growth that studying art allowed her and energized by the buzzing southern town, she started to perform publicly in 2013 and quickly developed local acclaim for her stark, unflinchingly vulnerable songs. During this time, she met many local artists and musicians, among them Matthew Anderegg, whom she quickly recognized as an artistic kindred spirit and friend. The following year they began working together to flesh out and arrange a collection of songs she had written, which would become the project’s 2016 debut release, When You Walk A Long Distance You Are Tired. Released in 2016, the album kicked off a sprawling eight months of touring across the US, UK and Europe, as the group honed their take on left-of center indie rock with an explosive and surprising live show that displayed how forceful the songs translated to a full-band setting. " Within Mothers, Leschper and Anderegg have remained a creative constant, with other collaborators changing over time. Render Another Ugly Method sees the remnants of Leschper and Anderegg, Chris Goggans and Drew Kirby in musical conversation, through cut-up songs that were torn apart and rebuilt over and over again.
Adult contemporary is characterized by its exceptional euphony. In skill, it effortlessly mingles sounds. In intent, it envelops itself in harmonies. In spirit, it has the beguiling ability to disarm listeners. That’s why L.A.’s Milo Greene, the always-evolving indie-pop band, chose the genre as its muse—even naming their third album, Adult Contemporary.
Some nights are just pure magic! In October of 2017, hard rock titans Alter Bridge took to the stage of the iconic Royal Albert Hall in London for two very special headline shows. Myles Kennedy, Mark Tremonti, Brian Marshall and Scott Phillips treated the capacity crowds to selections from their entire musical catalog. The set list included some of the band’s biggest hits; rarities and even a few songs the band had never previously performed live. Adding another career first for the band, Alter Bridge was joined on stage by conductor Simon Dobson and the 52-piece Parallax Orchestra. Together, everyone on stage during those two extraordinary nights treated the combined crowd of over 10,000 fans to an unforgettable music experience. Now those two performances have been combined in to one full length, epic concert that is to be shared with fans around the globe in Alter Bridge: Live At The Royal Albert Hall.
The Coral are an English band formed in 1996 in Holylake, England. Their past speaks volumes having sold over a million UK albums since their debut release in 2001, five of those hitting the Top 10, including the chart-topping Magic and Medicine (2003) and 8 Top 40 singles. Their self-titled album was nominated for the 2002 Mercury Music Prize and later voted the 4th Best Album of the Year by NME Magazine.
Notes on Escape-ism’s The Lost Record by Johnny Sincere When Escape-ism—nom de guerre of mythic rock ’n’ roll provocateur / theorist / revolutionary Ian Svenonius (performer, author, filmmaker, etc.)—announced the imminent release of its second long-player, The Lost Record, it shook the foundations of the hermetic swamp / tundra known as “underground music.” In the music world, a “lost record” is the term for an LP that was passed over, unappreciated—maybe not even released—but is later discovered, unearthed, and celebrated by in-the-know tastemakers and canny connoisseurs. Many of our culture’s favorite records are “lost” records; once despised or unheard, they’re now in heavy rotation in the clubhouse and in the car. Indeed, every group or musician dreams of making such a seminal record, with the heroic underdog narrative of: 1)Initial rejection by philistines 2)Clueless mishandling by the record company 3)An aimless amble through the desert of neglect and finally 4)Rediscovery and veneration However, the process a record has to go through to be “lost”—and then found again—is arduous. It’s also quite risky, since most lost records are really just lost: tossed aside and forgotten forever. So, when Escape-ism—the most exciting group in the world—announced its new and highly anticipated release The Lost Record, it created a commotion. For some, it seemed unfair for Escape-ism to jump ahead of the usual protocol and not go through the degradation that a historic “lost record” suffers: the endless time spent in a bin in the basement or a remote warehouse. Unshipped, unloved, unappreciated. But for Escape-ism, it seemed easier to circumvent the rigmarole and just get on with it. The Lost Record is a classic, destined to bewitch the minds, hearts, and dancing shoes of any rock ’n’ roll fan who happens to discover it, for as long as such creatures exist. Without the high-octane hype machine of the mind-control minstrels who hypnotize the hapless through the mass media, The Lost Record is bound for inevitable obscurity, but—with its timeless tunes, poignant message, and innovative sound—rediscovery and immortal status is equally assured! The Lost Record, being what it is, has enormous selling potential. Music enthusiasts will be thrilled to be the ones clever and kind enough to have rescued this platter from oblivion. The tunes—“Bodysnatcher,” “I’m a Lover (at Close Range),” “Exorcist Stairs,” “Nothing Personal,” and the rest—are foot-stomping classics as sung by the greatest song stylist and most dynamic performer of the epoch, Ian Svenonius. It’s a no-brainer that The Lost Record will be both unfairly neglected but also enshrined as a pinnacle achievement for subterranean civilization. Recorded in four different studios—Gaucho in Los Angeles, Flat Black in Iowa, Tonal Park in Takoma Park, MD, and at Club Blasé in DC—the record is the culmination of humanity’s attempt at something poignant, perverse, and poetically imperfect. Escape-ism is the work of Ian Svenonius, the author of Supernatural Strategies for Making a Rock ’n’ Roll Group, The Psychic Soviet, and Censorship Now!!; the singer of The Make-Up, Chain & the Gang, XYZ, et cetera; the writer / director of What Is a Group?, the world’s only rock ’n’ roll sci-fi documentary exploitation film; and the host of “Soft Focus,” the musician-on-musician chat show that preceded all the pretenders. Escape-ism, though, isn’t a footnote in a laundry list of awards and citations; it’s the most vital thing going now. At festivals, clubs, art galleries, happenings, parties, and put-downs, Escape-ism is ripping up stages, unlocking cages. Escape-ism reinvents rock ’n’ roll the same way the jet engine reinvented travel. It’s an enchanting and terrifying answer to the mire of contentless, going-through-the-motions beat groups and electr...
Platinum-selling artist Everlast returns with his first full-length studio album of original material since 2011's Songs of the Ungrateful Living. Known to most fans for his single What It's Like and as the frontman of House of Pain (Jump Around). Received a Grammy Award in 2000 for his collaboration with Santana, Put Your Lights On.
"Live At The Apollo", the new 3LP from Yes featuring Anderson, Rabin, Wakeman, is limited to 3,500 copies pressed on opaque orange 180 gram vinyl. This color will not be used on future pressings of the 3LP.
In 2016, Jon Anderson, Trevor Rabin and Rick Wakeman brought together their incredible talents and long experience of working in Yes to take to the road for a series of concerts celebrating Yes’ musical legacy of the seventies, eighties and nineties. Yes featuring Jon Anderson, Trevor Rabin and Rick Wakeman toured first in North America and then brought their live show to the UK in early 2017, including this performance captured at the Manchester Apollo. The band are in superb form in front of a sell-out crowd who are clearly loving every minute of the show which includes classic tracks such as Roundabout, Owner Of A Lonely Heart, And You And I, Hold On, Heart Of The Sunrise, Rhythm Of Love, I’ve Seen All Good People and many more.
Jon Anderson (vocals, guitar, harp); Trevor Rabin (guitar, vocals); Rick Wakeman (keyboards)
With Lee Pomeroy (bass) and Lou Molino III (drums)
• Alternativae/power poster’s third full-length. • Remastered from original tapes. • 2-CD set expanded with 31 bonus tracks—15 previously unissued. • 2-LP cut at 45 RPM We began our career exactly 30 years prior by releasing a home-recorded cassette called Failure, which to our complete surprise became an instant favorite around the Northwest, earning us critical accolades, radio airplay, and major label interest all in a very short time. We were lucky to find ourselves living just a few doors down the road in Seattle from Arthur “Rick” Roberts and Mike Musburger, who agreed to join our band on bass and drums, respectively. Signed to Geffen Records, we recorded 3 releases, 1990’s Dear 23, Frosting On The Beater in 1993, and Amazing Disgrace in 1996. These three albums remain beloved by our fans; our most popular, most often cited, most requested works. However, over the years, the CDs have been in and out of print, there have been inconsistent presences on streaming, the LPs either long out of print or not issued at all depending on the territory. Good news: all that’s about to change. Frosting On The Beater is back, re-issued by Omnivore Recordings (who have, among many releases new and old, reissued our first album, Failure, plus releases by Big Star, Game Theory, etc). The album will be released as a double CD set: one CD containing the original album, remastered from the original analog tapes, plus enough bonus material to fill out the rest of the CD; and another full CD of more bonus material. Don’t expect just a repackaging of material already available on our 2000 boxed set of outtakes— 15 of Frosting On The Beater’s 31 bonus tracks on this reissue have never been heard! Frosting On The Beater will now stretch across two LPs and will be mastered at 45 rpm from the original tapes. We made the decision to stick to just the original albums for the vinyl release, to give it room to breathe across two glorious slabs of wax. So, if bonus tracks are your thing, the 2-CD set will have you covered Catch The Posies on their 30th Anniversary tour in 2018 too!
There was something sinister about Crooked Fingers, both the name of the project and the music that Eric Bachmann wrote at the helm of its ever-shifting lineups over 15 years. He retired the moniker a couple of years ago, but with his third album under his own name, the transformation feels gorgeous and final and irreversible: No Recover. The drunken louts and red devil dawns are a thing of the past now, monuments to a different time. Bachmann, husband and recent father, has some new lenses through which to view the world. But while No Recover is decidedly mellow and reflective, do not mistake it for the work of a relaxed, satisfied songwriter, sitting on some Georgia porch with a stalk of wheat between his lips, gently rocking a cradle with his foot and whistling an old tune. No, the Eric Bachmann of 2018 seems to view life with a sort of disgruntled maturity and righteous resignation. No Recover is both harrowing and beautiful, and its mellowness can be deceiving. The album is mostly just him, a classical guitar, some treated rhythm tracks, and otherworldly drop-ins from singer Avery Leigh Draut and guitarist Eric Johnson, Bachmann’s old pal from their Archers of Loaf days. He’s got a lot on his mind, only some of it pretty. The sunset on the album’s cover might be the end of a cruel world for the duo in “Jaded Lover, Shady Drifter,” who introduce No Recover; they feel like flip-side lovers, both sonically and lyrically, of the couple at the center of Bring On the Snakes’ “The Rotting Strip.” But that dark sentiment is quickly reversed with “Daylight,” one of Bachmann’s most stunning vocal performances ever: For a guy who earned his stripes by shredding his vocal cords in the ’90s, he sure can croon. And though the words cast some shadows—“fight for your life,” he implores—ultimately there is hope. “If you try, you can be loved.” Same goes, to a less direct degree, for “Waylaid,” the record’s jauntiest song, and a meditation on failure and love that leaves room for Johnson’s bright-but-mournful electric guitar to take center stage. But leave it to Bachmann to save the best for last: No Recover ends with one song for his wife and another for his son. “Wild Azalea,” for Liz Durrett—who also makes a brief appearance earlier in the album—is pure ’70s AM gold, including the tinge of sadness that the best of that era embraced. And “Dead and Gone” offers wistful, Bachmann-style comfort to a child. It’s vulnerable and giving, a lifetime promise that somehow intertwines regret and hopefulness. In that way, it perfectly encapsulates No Recover—and Bachmann himself—circa 2018. He’s got a lifetime of experience behind him, and a catalog that runs the gamut from fiery to scary to simply beautiful, sometimes all at once. But it also feels like a new beginning. Here’s to another 25 (or more!) years of watching him grow.
Cyco Punk Lives on! There’s no time machine to go back (and thank goodness for that). This will be a full on Cyco Punk record taken to a whole new level with the legendary drummer Dave Lombardo (of Slayer fame) brutally beating the songs and sound that is made to get your Slam On! Suicyco Mutha Fucka! You’ve been warned. Opaque Green single LP. DLC Card.
Hailed by The Washington Post as "one of Nashville's finest song interpreters," Kathy Mattea has enjoyed the kind of success many artists only dream of: two Grammy wins, four CMA Awards, four #1 country singles, and five hold albums (plus a platinum collection of her greatest hits). The dream almost ended thought when Mattea entered her 50s and began to find her voice changing. What followed was a three year journey through life challenges and vocal glitches that she describes as her "dark night of the soul," a trying time of personal anguish and professional uncertainty that threatened to silence her permanently. Instead, Mattea dug in with a vocal coach, re-committed to her music, and emerged with the most poignant album of her career, "Pretty Bird." Working with her old friend, music roots wizard Tom O'Brien, producing, "Pretty Bird" is a chronicle of her journey, song by song, back to singing for the sheer joy of it. It's an emotional, moving collection, one that draws its strength not only from Mattea's touching performances, but also from her uncanny ability to weave seemingly disparate material into a cohesive whole. From a playful take on Oliver Wood's "Chocolate On My Tongue" to a tender rendition of Mary Gauthier's "Mercy Now," from a British traditional to a Bobbie Gentry classic, these are the songs that helped Mattea reclaim her voice, and she inhabits each as fully as if it were her own.
Hailing from New Orleans’ Seventh Ward, a crime-ridden, neglected, violent section of the city, rap duo and cousins $uicideboy$, comprised of members $lick and Ruby Da Cherry, got their start in 2014 and their name references a pact they made: if they didn’t make it by age 30, they would end their lives. XXL magazine heralded $uicideboy$ as “one of the fastest growing acts in hip-hop right now” and their heavily anticipated forthcoming album I Want To Die in New Orleans is inspired by their tour experiences and all the extravagance that comes along with the fame. The duo strives to create clever, thought-provoking music that continues to push boundaries, while also remaining true to their mission, which $lick says is “We make music for people who don’t know who they are, and where they belong. That’s the whole philosophy behind $uicideboy$: nothing is ever permanent – especially life."
New Album from Austin based blues and soul artist Black Joe Lewis & the Honeybears. Follow-up to his 2017 album Backlash, which debuted at number 3 on the Billboard Top Blues Albums Chart. Sonically inspired by the hill country blues of Junior Kimbrough, cowpunk style of The Gun Club, and the southern soul of Stax. Recorded in their hometown of Austin, Texas, with Grammy award winning producer Stuart Sikes (The White Stripes, Cat Power, Modest Mouse)
On September 7, Katie Crutchfield’s ever-shifting musical project Waxahatchee returns with the Great Thunder EP. Featuring a collection of songs written with now-dormant experimental recording group Great Thunder while Crutchfield was also writing the Waxahatchee albums Cerulean Salt and Ivy Tripp, the original recordings have mostly faded into obscurity. Unearthing and reimagining them with producer Brad Cook at Justin Vernon’s April Base studio in Wisconsin was a cathartic experience, she says. On the heels of last year’s critically acclaimed Out in the Storm, Crutchfield found herself looking to take a sharp turn away from the more rock-oriented influences of her recent records towards her more folk and country roots. “I would say that it is a complete 180 from the last record: super stripped-down, quiet, and with me performing solo, it’s a throwback to how I started,” writes Crutchfield. “Overall, the EP is a warm, kind of vibey recording.” Some of the songs on Great Thunder, like “Chapel of Pines” and “Singer’s No Star,” stayed the same and will be recognizable to those intensely familiar with Crutchfield’s catalog to date, while closer “Takes So Much” was built back up on piano from the bones of the original version, surprising even the songwriter: “Until then, I didn’t realize how beautiful this song was.” As Crutchfield entered April Base to record, she became ill but opted to forge on, beautifully stretching her voice to its emotional limits.
On their third album Reina, Kinky turned chaos into a grand celebration as they conquered mudslides, floods and collapsing houses to produce their most exciting album yet. In true Kinky fashion, Reina delivers a grand celebration in the form of 12 self-produced tracks (plus Bonus Tracks “Mexican Radio” and “¿ A Dónde Van Los Muertos? (Brazilian Girls Remix)”) that invite listeners to a celebration of rock, electronica, hip-hop and Latin rhythm with both English and Spanish lyrics that make it nearly impossible to stand still. Guest appearances include Men At Work front man Colin Hay, Mexican alternative rock singer Ely Guerra, and Intocable’s accordion player Rick Munoz.
Platinum-selling band Sister Hazel's new six-song EP Wind is certain to blow fans away with its catchy, upbeat tunes delivering inspiring messages of love and life. The second volume in a compilation series themed “Elements,” Wind includes a seventh bonus track that will continue throughout the series. Named one of the Top Most Influential Performers of the last 15 years by Performing Songwriter Magazine, Sister Hazel hit #1 with their massive hit “All For You” in 1997. Since then, the Grammy-nominated band has become firmly established not only in rock and alternative music, but also now in country with three back-to-back Billboard Top Country album chart entries. (In total, the band has had nine Billboard Charting albums on multiple genre charts.) Recently making their debut on the stage of the iconic Grand Ole Opry, the band is celebrating 20 years of entertaining fans and making music. A pioneer in the entertainment cruise industry, Sister Hazel also marks its anniversary of the band-established “Rock Boat” in 2018. With contributions from some of Nashville’s heavy-hitter songwriters, Sister Hazel embraces their roots and Florida music influences on Wind. Delivering exquisite musicianship and shining signature harmonies throughout, each song is a standout. From the upbeat, driving “Come a Day” and the comforting first single “Small Town Living” to the epic tender ballad “In Two” and the working man’s anthem “Midnight Again,” the collectible EP is an exceptional addition to fan playlists.
We all need a new call to action. A new jolt of optimism. If you will, a New Reveille. Especially those of us who know the power of music as it once was… before computers started smoothing rough edges, before writers fell into step with paeans to parties and beer and the like, songs could cast spells. They could change the way people thought and felt. They touched on life and death. They were real — as real as the five-piece ensemble known as New Reveille. On The Keep, New Reveille’s distinctive talents find common ground in traditions that stretch back to and beyond early America. On that foundation, through their varied gifts, they build a unique sound that encompasses the virtues of music that came before and the promise of what it might yet become. Their sound: Amy Kamm on lead vocals, Daniel Cook on banjo and guitar, George Hage on guitar, Autumn Brand on violin — an Americana lineup so far. But there’s also Kaitlin Grady on cello, adding a classical element, combining with Autumn in mini-orchestral textures and melodies. Cook’s banjo avoids flashy patterns, instead harks back to a pre-bluegrass era. As for the vocals, Kamm dances deftly between artful interpretive solo parts and three-part female harmonies that somehow soar, caress, and electrify all at once.
HOK (House of Krazees) was the original name of the Detroit hip hop band that became Twiztid. After 25 years, HOK is re-releasing their albums on vinyl. The first is Home Sweet Home. This LP is standard weight, translucent yellow vinyl.
“Since the release of ‘Come Over (feat. Sean Paul)’ from my first album, fans have consistently asked when I would make an entire reggae album,” says Grammy Award winning vocalist Estelle. “I’m happy to give the people what they have been asking for and I’m proud to share another piece of my life and art with the world.” Born in West London to a Senegalese/Grenadian family, as a child, Estelle was exposed to African music, Gospel, reggae and dub. With Lovers Rock, her fifth album, the inspiration goes back to some of her earliest musical influences. The album features new productions from Supa Dups (“Come Over”) and guest vocals from stars in reggae, African and R&B genres. The album’s first single “Love Like Ours (feat. Tarrus Riley)” debuted last year with Reggae Gold 2017. The track went on to receive massive radio and video support from outlets in the US, UK, Europe and the Caribbean. The Lovers Rock album launch will kick off July 13th, with the Apple Music debut of a three-part video concept, that tells her parent’s story of love, love lost and love found again. The single and video for “Better” is a mid-tempo dancehall flavored cut that will add credibility for the project with reggae fans and satisfy her core R&B audience. The other two songs in the video trio are “Sweetly” and “So Easy (feat. Luke James).” Other notable step outs on the album include Maleek Berry, Kranium, Konshens and Chronixx.
New Jersey singer Donna Missal may be a newbie but her passionately raw vocal proves she could capture even the most jaded listeners. With a mighty set of pipes akin to Lana Del Rey’s smoky pop softness, soulful strength and grit of Alabama Shakes’ Brittany Howard and the howl of Janis Joplin, the songstress’ trifecta appeal carries her with a lighted torch to the forefront of today’s crowded musical landscape.
Universal Eyes started as Universal Indians in Lansing Michigan, in the early shadows of the 90's, with Gretchen Gonzales (now Gonzales Davidson), Bryan "Rammer" Ramirez, & Johnny "Inzane" Olson. The trio started as a Jesse Harper cover band and managed to play every single basement that had a power outlet in the Tri county area. After moving to the Detroit area in the late 90's, Rammer was replaced by Aaron Dilloway and also joined by Nathan Young / a duo that were already in the throes of primitive electronic global domination that is WOLF EYES. The collective quartet played every basement, art space, record store, and club in the metro area that had a power outlet and could also handle the Michigan Progressive Underground audio sprawl. Around the dawn of the 2000's / Gretchen went full time with the moody & cold stylings of SLUMBER PARTY and after a wild Bowling Green Ohio gig, Olson joined WOLF EYES full time. After some drama that would make even Fleetwood Mac disappear into the shadows of suburbia and toss their EQ into a lonely fire, UNIVERSAL INDIANS appeared to have fate / faded into the packed history book pages of Michigan musical lore. As age and time seem to dust over wounds while magically healing them, the quartet met again in the northern suburbs of metro Detroit on a brisk spring Sunday in 2018. They hauled modern and ancient instruments into a home studio and just like that: the dream / nightmare had hot blood pumping thru its' duct-taped sound body once again, as if the missing years were nothing but a minute hurdle.
In 1970 the Southern soul music maverick Jerry Williams, Jr. made the most radical move of his career. Frustrated with music business politics Williams reinvented himself as Swamp Dogg, an irreverent anti-hero smashing the conventions of commercial R&B music. Swamp Dogg’s debut release Total Destruction to Your Mind featured a post-apocalyptic take on the Muscle Shoals’ sound, with lyrics inspired by the revolutionary politics and psychedelic drugs of the late ‘60s. The music on Total Destruction to Your Mind stood worlds apart from the formulaic pop tunes Williams started cutting in 1954 under the name Little Jerry, and Swamp Dogg hasn’t looked back since. Now, nearly fifty years after his debut release, Swamp Dogg stands on the precipice of another radical reinvention. His latest creation is titled Love, Loss, and Auto-Tune a nine song collection featuring production by Poliça’s Ryan Olson. Love, Loss, and Auto-Tune finds Swamp Dogg’s bluesy southern soul colliding head-on with 21st Century electronic music production techniques. The reference to Auto-Tune in the title is not incidental, the album’s sound is built around Swamp Dogg’s experimentation with the ubiquitous vocal processor. While Auto-Tune has become a fixture of the modern pop music landscape, this is Swamp Dogg’s first major exploration of the device. “Every time I listen to some new music that everybody thinks is the greatest thing since hot biscuits, it's full of Auto-Tune,” Swamp Dogg says. His use of Auto-Tune technology is not gratuitous. Like Kanye West on 808s & Heartbreak, Swamp Dogg utilizes the cold digital tone of Auto-Tune to convey a sense of emotional detachment during the album’s most anguished moments. "The songs are about being lonely,” Swamp Dogg says of Love, Loss, and Auto-Tune. The feeling of loneliness is particularly palpable on the hauntingly beautiful “I’ll Pretend,” which features vocals from Justin Vernon. Swamp Dogg describes the song as a character study about “a guy sitting in a restaurant by himself losing his fucking mind because he’s hoping his woman is gonna walk by, but she's at a Ramada Inn somewhere fucking somebody else to death." Despite the record’s overriding theme of loss, Swamp Dogg’s warped sense of humor is still intact. Let’s remember that we’re talking about an artist who released a “greatest hits” album in 1976 filled entirely with new songs! Swamp’s comic side is evident on “$$$ Hunting,” which rolls out with a funky Zapp-like bounce. There’s also “Sex With Your Ex,” where Swamp Dogg extols the benefits of the song’s title theme over random bursts of feedback and noise. Love, Loss, and Auto-Tune is a gem, a unique and unpredictable moment in the life of a unique and unpredictable artist that some consider a national treasure. “I might be the only one,” Swamp Dogg says. “But I think Swamp Dogg is a national treasure.”
It’s been 3 years since their last album “Noita” was released and the Finnish Folk Metal Superstars KORPIKLAANI are about to offer their 10th studio album entitled “Kulkija” (“Wanderer”), set for a September 7th, 2018 release. Including 14 tracks, “Kulkija” is their longest album, but also their most natural sounding one, to date. From the first to the last tone, a unique atmosphere guides the listeners through a long journey. Instrumentally, the band continues the way they had already started with “Manala” (2012) to “Noita” (2015). Lyrically, the album deals with the album’s title character, the wanderer. He appears in every song and every single track represents one of his life situations.
The full-length debut from singer/songwriter Ruston Kelly, Dying Star is a document of self-destruction and salvation. With a storytelling sensibility that constantly shifts from candid to poetic, the Nashville-based artist details his experience with addiction, which included time in rehab and an overdose in early 2016. Rooted in a delicately sculpted sound that shows every nuance of his vocal delivery, Dying Star captures all the chaos and heartbreak on the way to finding redemption. Dying Star is co-produced by Ruston Kelly and Jarrad K (Kate Nash, Weezer.) 2LP Set. Side D is etched.
If Kandace Springs' new album Indigo sounds like something new, that's because it is. Simple while funky. Classic but contemporary. Straightforward in the way it breaks down complex ideas and genres. And, at the end of the day, undeniably human. That said, it isn't quite a rebirth for the Nashville-born artist, who after stints living in New York and Los Angeles has returned back home to Music City. She's long had that lithe and smoky voice and an intensely expressive mastery over the piano. For those paying attention, Kandace's second album finds her unleashing what was there all along, all at once, for the first time.
Limited 180gm vinyl LP pressing including digital download. 2018 release. Kilonova, the seventh album from Iowa singer-songwriter/banjoist/guitarist William Elliott Whitmore is a collection of 10 select cover songs that have influenced his 15+ year career. From Dock Boggs to Bad Religion, Captain Beefheart to Bill Withers, each song offers a glimpse into how his attitude and aesthetic were formed, like a series of tattoos and scars.