Music Releases 05-10-19
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Mac DeMarco returns with his newest album, Here Comes the Cowboy, the first album to be released on his new independent label, Mac’s Record Label. The album features lead single “Nobody,” and is available on May 10.
After releasing their highly anticipated Kicker EP in the summer of 2018 (which Pitchfork described as the band's "most satisfying release in nearly 20 years"), The Get Up Kids have returned with an invigorating new full-length album, Problems. Produced by Peter Katis (The National, Interpol, Sharon Van Etten), Problems sees the band expanding on the unmatched energy and emotion found on Kicker and channeling it into a fresh collection of songs that showcases the highly developed songwriting characteristics and impeccable use of melody we've come to expect from the Kansas 5-piece. Standouts like "Satellite" and "The Problem Is Me" make it clear the band has come full circle while continuing to evolve.
Since their inception in 2008, Defeater have stood apart as storytellers in the world of hardcore. Hailing from Boston, Massachusetts, the band’s lineup consists of Derek Archambault (vocals), Adam Crowe (guitar), Jake Woodruff (guitar), Joe Longobardi (drums) and Mike Poulin (bass). They have toured with the likes of La Dispute, Comeback Kid, and August Burns Red. Defeater will be the band’s fifth studio album
Sammy Hagar & The Circle will release their debut album of original material, titled Space Between on May 10 via BMG. The first single from the record, “Trust Fund Baby,” is available now. With the upcoming release of Space Between, the band harnesses the depth of their artistic experiences and seminal collaborative sound with Hagar's prolific writing vein to produce an album that builds and explodes, song after song, around the concepts of money, greed, enlightenment and truth. Lyrically and musically, the collection of songs on Space Between build from intimate and introspective eye-openers to heart-pumping anthems. The music draws on the bands' substantial careers independently and collaboratively; presenting a veteran band still at the peak of their game. Formed in 2014, the acclaimed supergroup featuring Rock & Roll Hall of Fame inductees Sammy Hagar and bassist Michael Anthony, drummer Jason Bonham and guitarist Vic Johnson, quickly established themselves as one of the most emphatic and exciting live acts on tour today, seamlessly ripping through career-spanning hits from Montrose, Van Halen, Sammy Hagar and The Waboritas and Led Zeppelin.
Parachute is the fifth studio album for the band; the album was produced by Jacquire King (Kings of Leon, Dawes, Tom Waits, Modest Mouth, Norah Jones, Josh Ritter, Punch Brothers). All songs were written by Will Anderson except "Ocean" and "Talk to Me" by Will Anderson and Jackson Morgan. Fans and critics alike are no stranger to Anderson's impeccable ability to connect as a songwriter, with Billboard hailing that he has a "knack for writing emotionally connecting, hook-laden songs that linger in the brain for days' as well as Idolator calling the band's past songs, "well-crafted and infectious."
Sombrou Dúvida is a question. A play on words in Boogarins’ native Brazilian Portuguese. It’s a contraction of “Sombra ou Dúvida”, the title track of the album, which translates as ‘Shadow or Doubt’. There might seem to be a darkness to the question, given that both choices aren’t exactly cheery. Yet, Dino, the smiling, Afro-donned singer of the group tells us that “shadow” refers to a feeling related to your comfort zone, whereas doubt is the uncertainty that hits people and leads them to follow their instincts. For fans of previous works by the band, Fernando Almeida’s songwriting and soaring vocals guide Sombrou Dúvida in a way that’s reminiscent of the Latin Grammy-nominated second album "Manual", which was a portrait of a live band exploring the professional recording studio for the first time. The new 10-song set builds on this premise while retaining many of the home-recorded electronic elements of Lá Vema Morte.
Esperanza Spalding has announced an audacious new project called ‘12 Little Spells’ that finds Spalding conjuring in the medium of musical creation, through an exploration of the body, human energy and healing. Esperanza released one new spell per day on her website and social platforms as well as a “Liner Notes Live” hosted on Facebook all resulting in over 3.1 million views. The spells come in the form of new music, which was crafted by Spalding at a castle in Italy last month, and then recorded in sessions completed just yesterday in Brooklyn. Each spell will be presented with song-specific imagery and video spells (short films that will accompany each release).
For six straight decades, only one unstoppable force has flat-out dominated popular culture — breaking down barriers, pushing boundaries, and letting nothing and no one stand in her way. The Cher Show is her story, and it’s packed with so much Cher that it takes three women to play her: the kid starting out, the glam pop star and the icon.
The Cher Show is six decades of stardom, two rock-star husbands, a Grammy®, an Oscar®, an Emmy®, and enough Bob Mackie gowns to cause a sequins shortage in New York City, all in one unabashedly fabulous new musical.
Whitesnake return with their 13th studio album, "Flesh & Blood". Available on regular edition CD, CD + DVD Deluxe Edition feat. 5 bonus tracks (2 new studio tracks, 3 remixes), Standard Black Double Vinyl (180g), and Special Edition Box Set feat. CD+DVD Deluxe Edition, 2xLP Standard Black, Poster, and Numbered Lithograph.
After 3 years in the making, James Chapman (Maps) returns with his new album Colours. Reflect. Time. Loss. The project sees James working with a classical chamber ensemble, guest vocalists and percussionists from across the world to create a stunning album of immersive, impressionistic songs. With ‘Colours. Reflect. Time. Loss’, Maps embarks on a production to match the scope of his musical ambition, employing guest vocalists, live drums and percussion and even a six-piece classical ensemble, the Echo Collective. It’s a project that sees Maps record at home, in London, and in the Echo Collective’s native Brussels, using musicians from as far away as Philadelphia, USA. It’s his biggest, most fully realized project yet – but no less bewitching and personal than fans would expect.
The Mystery Lights's sophomore album on Daptone's rock subsidiary, Wick Records, finds the group digging deeper into their well of eclectic influences, enriching their sound without echoing the past. It mixes the eerie, insistent synth sounds of groups like The Normal and Suicide, the energy and swagger of punks golden age, the pop sensibility of The Kinks, and the stark, deliberate execution of Television. The Mystery Lights are taking their idiosyncratic brand of rock and roll to dizzying new heights.
With a true brotherhood that comes from growing up together, indie rock band Ona merge all their musical history for their second album, Full Moon, Heavy Light. The band shares its name with a small town just outside of their home base of Huntington, West Virginia. All five band members of Ona were raised in the area, with a couple of guys knowing each other since grade school. The band agreed on their name after Jenkins happened to wear an Ona Little League ball cap to rehearsal. Ona unique has their sound stands apart from the country and bluegrass heritage that the West Viriginian state is known for. Explained in part by Nolte I grew up in the woods, but my dad only listened to glam rock, so sometimes it s hard for me to identify with the quintessential West Virginia image, The new record was produced by Drew Vandenburg (Of Montreal, Futurebirds, Deerhunter) and is the first signing on Tyler Childers' Hickman Holler Records.
Vinyl LP pressing. Just when one thought one knew what to expect from POW! They surprise everyone with a vigorous and rabid album's worth of moody cybernetic punk that's frankly their best yet. Their fourth album is oil-dipped in a rainbowed slick of dread, yet the songs are buoyed by tight tunes that seem to have a lot of fun among the ruins of the future, perhaps with an eye to a less gloomy horizon? Melissa Blue's sharp elbowed synths jostle with Byron Blum's zap gun guitar in an ominous fog of oscillations, and yet somehow it gets the toe a-tapping. The band got darker and more catchy at the same time, for which some credit is due to the excellent drumming of Cameron Allen and the fantastically future savvy production by Byron Blum and Tomas Dolas. Lots of sticky punk heart resin-layered in a futuristic-scanning bionic bop.
Charly Bliss are back with their sophomore album Young Enough. Produced by Joe Chiccarelli (U2, Beck, Alanis, The Strokes, The Killers, My Morning Jacket, Cage The Elephant), the album finds the band exploring both the darker and poppier side of their sound while expanding on what made their debut album Guppy a critically acclaimed success by outlets such as NPR, Stereogum, Pitchfork, FADER, The Ringer and more. The band toured extensively in 2017 and 2018 as they headlined several tours, appeared at festivals like Shakey Knees, Boston Calling and Sasquatch and supported the likes of Wolf Parade, Tokyo Police Club, Pup, Sleater-Kinney and Veruca Salt. They just opened all of the Death Cab for Cutie shows this past fall across the entire US which coincided with the release of their standalone single Heaven which got a ton of press, including Pitchforks coveted Best New Track moniker. Pressed on translucent blue vinyl.
The sentiments of triumph and tragedy on LAUNCH FLY LAND, are universal and DREAMERS are happy to have come out on the other side with these songs serving as an affirmation of the experience. "We can't wait to get out on the road and share these songs with people," Wold summarizes. "In the end, that's what this is all about."
Jamila Woods has a voice and lyrical sensibility that transcends generations, and so it makes sense to have this lush and layered album that bounces seamlessly from one sonic aesthetic to another. This was the case on 2016's HEAVN, which found Woods hopeful and exploratory, looking along the edges resilience and exhaustion for some measures of joy. Her new album, Legacy! Legacy! Is the logical conclusion to that looking. From the airy boom-bap of "Giovanni" to the psychedelic flourishes of "Sonia," the instrument which ties the musical threads together is the ability of Woods to find her pockets in the waves of instrumentation, stretching syllables and vowels over the harmony of noise until each puzzle piece has a home. The whimsical and malleable nature of sonic delights also grants a path for collaborators to flourish: the sparkling flows of Nitty Scott on "Sonia" and Saba on "Basquiat," or the bloom of Nico Segal's horns on "Baldwin." More than just giving the song titles the names of historical black and brown icons of literature, art, and music, Jamila Woods builds a sonic and lyrical monument to the various modes of how these icons tried to push beyond the margins a country had assigned to them. On "Sun Ra," Woods sings "I just gotta get away from this earth, man / this marble was doomed from the start" and that type of dreaming and vision honors not only the legacy of Sun Ra, but the idea that there is a better future, and in it, there will still be black people. Soul music did not just appear in America, and soul does not just mean music. Rather, soul is what gold can be dug from the depths of ruin, and refashioned by those who have true vision. True soul lives in the pages of a worn novel that no one talks about anymore, or a painting that sits in a gallery for a while but then in an attic forever. Soul is all the things a country tries to force itself into forgetting. Soul is all of those things come back to claim what is theirs. Jamila Woods is a singular soul singer who, in voice, holds the rhetorical demand. The knowing that there is no compromise for someone with vision this endless. That the revolution must take many forms, and it sometimes starts with songs like these. Songs that feel like the sun on your face and the wind pushing flowers against your back while you kick your head to the heavens and laugh at how foolish the world seems.
On Age Hasn't Spoiled You, the Toronto post-punks, Greys, eschew their trademark frenzy for a more cerebral and cinematic affair. What results is a richly textured experience that draws influence from krautrock, industrial, hip hop, dub, jazz, ambient, drone and more, sometimes within the same song. That their blend of disparate sounds never obscures the album’s sharp focus is a testament to the group’s mastery of both songwriting and production. This is evident on lead single "These Things Happen," which jumps from big beat psychedelia to CSNY harmonies and back again while Jiwani considers privilege, apathy, drug use, and content fatigue in one verse. With Age Hasn’t Spoiled You, Greys strive to exist in a similar echelon of bands that seek to shatter the boundaries that contain them.
Anoyo ("the world over there") draws from the same sessions which led to the 2018 work Konoyo but rendered starker, solemn, and stripped back, with more of a naturalist tint. Tim Hecker's processing here moves in veiled ways, soft refractions and whispered shrouds woven within improvisational sessions of traditional gagaku interplay, evoking a sense of vaulted space, temples at dawn, shredded silk fluttering in the rafters. This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, Anoyo inverts it's predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return.
Howard Jones first burst upon the contemporary music scene in 1983, with his very English songwriting and pioneering synthesizers. His first two albums HUMAN S LIB and DREAM INTO ACTION were worldwide hits. HUMAN S LIB reached #1 in 1984 in the UK and featured the hits New Song, and What Is Love? In 1985, Jones released the follow-up, DREAM INTO ACTION, which quickly became a Top Ten Platinum album in the United States and featured the smashes: Things Can Only Get Better, Life In One Day, No One Is To Blame, and Like To Get To Know You Well. Howard Jones has sold over 8 million albums worldwide and continues to make new music and tour the world. TRANSFORM is new wave icon/synth pioneer Howard Jones' first new studio album in nearly a decade!
Lowdown Ways marks a quantum creative leap for DADDY LONG LEGS, the scrappy New York trio known for their stripped-down roots sound and in-your- face intensity thats garnered them fans in their hometown and overseas, where theyve toured with such kindred spirits as The Damned, Blackfoot Gypsies, Hurray for the Riff Raff and the Jon Spencer Blues Explosion. Theyve been recognized by Rolling Stone, who aptly compared them to Chicago blues fired at the moon, played by the demented children of the Pretty Things. This expansive, new territory that the band covers on Lowdown Ways is thanks to producer (and JD McPherson bassist) Jimmy Sutton, with whom the band recorded the album at Chicagos Hi-Style Studios, applies his technical know-how to broaden the sound of such instantly memorable tunes as Pink Lemonade (co-written by McPherson), Ding Dong Dang and Bad Neighborhood, which resonate with the down-and-dirty roots that have always been DADDY LONG LEGS inspiration. Meanwhile, the band ventures successfully into unfamiliar territory with the pub-rock-style Winners Circle, the bittersweet acoustic ballad Back Door Fool and the dramatic album-closer Wrong Side of the River. Pressed on opaque white vinyl.
After over two decades in country music, it's hard to imagine that the Tennessee-born Atkins could still treasure the difficult moments and the arduous process of creating a song from the ground up. But he's just the kind of artist who loves the roots as much as the tree. With six number-one hits under his belt, four studio LP's, and over 10 million units sold, Atkins is more invested than ever in making honest, authentic records that tell a story and showcase his unique place in the world, which is exactly what he does on his forthcoming fifth LP. But it took a moment, about three years ago, for him to take stock not just of where he'd been, but where he was going. "I equated it to my bow and arrow moment," Atkins says. "I felt like I needed to stop, take a few steps back. Re-aim. Re-adjust. Get back on target, and to the level I wanted to operate on."
Dawn Landes is a Nashville based singer-songwriter whose music you might have heard if you watch The Good Wife, House or Gossip Girl. Along with releasing five albums since 2005 (and an EP inspired by yé-yé, 60s French pop music), shes a frequent collaborator with contemporaries such as Sufjan Stevens, Norah Jones and composer Nico Muhly. She has appeared with the Boston Pops, the NYC Ballet and on the TED main stage performing songs from her forthcoming musical ROW about fellow Louisville native Tori Murden McClures quest to become the first woman to row across the Atlantic Ocean. Dawn's most recent LP 'Meet Me at the River' (Yep Roc) was recorded with legendary producer Fred Foster (Roy Orbison, Dolly Parton) and features Bobby Bare, Charlie McCoy and other A-list players. My Tiny Twilight is a new collection of songs inspired by her young daughter. The EP was recorded in Nashville, TN with Joe Pisapia on guitar, pedal steel and bass, Sam Smith on drums and her husband Creighton Irons on piano.
AMERICAN SHARKS is comprised of Mike Hardin (lead vocals, bass), Will Ellis (guitars), and Nick Cornetti (drums). Since forming in 2012, the band has toured extensively, playing over 200 shows a year with Clutch, Gwar, Red Fang, The Sword, Big Business, and more. On September 17, 2013, AMERICAN SHARKS teamed up with The End Records to release AMERICAN SHARKS on MP3, CD and LP formats, including a special, limited edition ‘color your own’ vinyl. Scheduled for release May 10 via The End Records, Mike Hardin (lead vocals, bass), Nick Cornetti (drums) and Will Ellis (guitar) recorded and self produced 11:11 with Jason Buntz and Jack Control at Enormous Door handling the mixing and mastering.
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The second single from the forthcoming Buddy & Julie Miller album, Breakdown On 20th Ave. South.