CIMS In The Groove
2018 marks the 40th Anniversary of Bob Marley & The Wailers’ KAYA. Recorded in part during Marley’s and the band’s 1977 exile in London, KAYA is very much the sibling record to EXODUS. Fittingly, as Ziggy Marley revisited the original session recordings for last year’s EXODUS 40 celebration, this year sibling Stephen Marley revisits the original session recordings to commemorate KAYA, bringing a fresh perspective to this suite that’s quietly referred to as the ‘Peace Treaty’ album.
Heavy Music: The Complete Cameo Recordings 1966-1967, will be the first time ever that all records by the celebrated Detroit group will be made available since their origination as 45rpm singles. The collection represents how stylistically, the band went beyond simple garage rock stomp and stammer formula and spread their wings lyrically and sonically in a few short years. The album is wrapped in an newly designed package, and liner notes by celebrated music writer Jim Allen, rare original photographs and label art from the Cameo Parkway vaults. The monophonic collection, originally recorded at United Sound Studios in Detroit, is mastered by Robert Vosgien at Capitol Mastering and the vinyl pressed in Detroit at Third Man Pressing. Featuring Bob Seger s earliest songwriting efforts, this release completes the digital availability of the seminal singles of the Detroit rocker s pre-stardom band.
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.
Recorded in LA, Pasadena and Joshua Tree, With Animals is the second album by Mark Lanegan and Duke Garwood, two artists who've spent their careers stalking the peripheries and mapping sounds of the small hours. As befits a record called With Animals, these dusty songs feel like they were created in the company of the denizens of the night. Analogue and dust flecked, it's as if Lanegan and Garwood have been holed up in a '60s recording studio while the apocalypse rages outside. Over the last decade, Lanegan and Garwood have worked in tangent on 2013's Black Pudding as well as on Lanegan's solo records (2012's Blues Funeral and 2017's Gargoyle after which Garwood toured as part of Lanegan's band).
Recorded mainly in Neil Finn's Auckland studio, Lightsleeper bursts with melody and the trademark euphoric flips that are the Finn family trademarks. When Neil's iconic pop sensibility meets Liam's lo-fi atmospherics, it's produces a feeling of intimacy and awe that makes it easy to wonder why the dynamic father and son duo haven't written together sooner. The simple Finn family ethos of making music with friends and family continues right through to the personnel recruited for the album. Lightsleeper features the touring band, Sharon Finn (Neil's wife, and Liam Finn's mother) plays bass on two of the songs, Elroy Finn (Liam's brother) plays drums on seven, good friend Connan Mockasin returns for four and legendary Mick Fleetwood turns up to play on ''Anger Plays A Part'', ''Any Other Way'' and ''We Know What It Means''. The unmistakable spirit of musicians at their peak, bound together by a still-hot desire to make music that is brewed within the bones, love, quiet revelation and the perfectly-evoked euphoria of being alive is what makes Lightsleeper such a gorgeous progression in the Finn family musical history.
Thank You for Today, Death Cab for Cutie's ninth studio album, was produced and mixed by Rich Costey (Fiona Apple, Franz Ferdinand, Muse), who also produced the band's last album the GRAMMY® nominated Kintsugi. Thank You for Today marks the first Death Cab for Cutie release to see long time bandmates Gibbard, Nick Harmer, and Jason McGerr joined in the studio by new members Dave Depper (Menomena, Fruit Bats, Corin Tucker, Ray Lamontagne) and Zac Rae (My Brightest Diamond, Fiona Apple, Lana Del Rey, Gnarls Barkley). Depper and Rae have both been part of Death Cab's touring band since 2015. Death Cab for Cutie will celebrate their new album with a much anticipated fall tour. Check out the single "Gold Rush"
With a building sheath of synth and down on it groove, Lucie Silvas digs in on "Kite," the reckless kind of women who knows no fear. Pounding, pumping, thumping, this is a dance song about a woman getting gone, an admonition to a lover that shows the New Zealand/United Kingdom-grown songstress isn't afraid to throw down. Not that everything the dusty blond lifts her voice to lands that aggressive. For the irrepressible Silvas who can tempest and coo, it's about hitting the emotions bull's eye that lends an immediacy to the songs on E.G.O, the utterly independent project that follows her critically acclaimed Letters To Ghosts.
The project came together in the fall of 2017 while on tour, where Third Eye Blind has been finding joy and sanctuary by visiting local museums and galleries and booking time across the US and Europe - Ardent Studios in Memphis, a friend s house in Malibu, Hedgehog in Düsseldorf -to record songs they love. These mini recording sessions became celebrations of these artists. The idea with this EP was to amplify some of that music and art, and in doing so, catch inspiration for our next album. Proceeds from Thank You for Everything will be donated to one of their favorites, the Andy Warhol Museum in Pittsburgh. The album art is a collaboration with Queens native Uncutt ( Protect Your Heart ) and Warhol's Skull (1976). It's a visual version of what we re doing with these artist s songs. We find art or music in one place, and then we take it someplace else. In both cases, I hope it will yield renewed interest in the originals, adds Stephan.
Alice Cooper is known as one of the greatest entertainers in rock music, inspiring his audiences for over 40 years now. A Paranormal Evening At The Olympia Paris which was recorded during Alice Coopers European Tour 2017 on the 7th of December at the L Olympia in Paris gives the audience the chance the be a witness of one of these fine and legendary theatrical performances. Supported by the outstanding performance of his band, the master of shock rock takes the audience on a journey through the darkness, performing his big hits like Poison , School s Out and No More Mr. Nice Guy as well as the recent track Paranoiac Personality featured on the latest studio album Paranormal . A Paranormal Evening At The Olympia Paris is a live album full of music, murder and madness. The showman Alice Cooper himself fascinates with a passionate performance and together with his band, easily turns the whole concert into an unforgettable happening. An enthusiastic crowd and stunning guitar and drum solos underline the vibrating energy of this Paranormal Evening , caught in high quality audio. A must-have not only for Alice Cooper fans but also for everyone who loves top quality music and unique entertainment! The formats come with different front covers.
2018 release. Showcasing the essence of what Jake Shears does best, the eponymously titled solo debut from the Scissor Sisters frontman is an album brimming with anthemic choruses and lyrics about the joys and vagaries of love and sex - all of it underpinned by a swampy soul influence imparted from his newly adopted hometown New Orleans. Shears' artistic vision blossomed in the epicenter of Southern decadence, where he had headed following the Scissors hiatus in 2012. Initial ideas for the album were mapped out at the city's famed Marigny Studios before he decamped to Louisville, KY to work with producer Kevin Ratterman (Ray LaMontagne, My Morning Jacket) who recruited members of My Morning Jacket, VHS or Beta, Jim James' solo band, and Floating Action to lay down the album's foundation. With string and brass arrangements by Christian Hebel (Barbra Streisand) and Lance Horne (Alan Cumming), they returned to NOLA to capture the city's signature sound with the Preservation Hall Jazz Band and Sturgill Simpson's brass section. The result is a thrilling work that plays inside some of the hallmarks of classic American rock music and marries them with Jake's inimitable point of view, humor, and gift for unforgettable hooks.
On August 24th Interpol will release their sixth studio album Marauder on Matador Records worldwide, available on CD and vinyl. For the first time since 2007’s Our Love to Admire, Interpol have opened themselves up to the input of a producer. For two-week spells between December of 2017 to April of 2018, they travelled to upstate New York to work with Dave Fridmann – famed for recording with Mercury Rev, Flaming Lips, MGMT, Spoon, Mogwai, and countless others. In the run up to writing and recording, Sam found himself immersed in soul drummers such as Al Jackson Jr (Otis Redding’s drummer) and 80’s funk producers Jimmy Jam and Terry Lewis. “How can I make shit swing?” was the question Sam repeatedly asked himself, and the answer is in the striding gallop of opener “If You Really Love Nothing,” the embellished skip ‘n’ bounce of “Stay in Touch” and the R&B swagger of closer “It Probably Matters.” Interpol have always been world-beaters at creating a feeling, but Marauder is where the feel is just as crucial. Paul may have stepped out of the shadows as a bassist, but he’s stepping into an even brighter light as a songwriter. During Interpol’s previous albums, the singer largely kept himself out of his own work, preferring to fill his lyrics with detached thoughts, characters, and observations, often phrased in abstract. But more than 20 years on since forming at NYU, the frontman is finally allowing himself to play a role in his own stories. “This record is where I feel touching on real things that have happened to me are exciting and evocative to write about,” he explains. “I think in the past, I always felt autobiography was too small a thing for me to reference. I feel like now, I’m able to romanticize parts of my own life.” “A swift and searing song centered around a blown-out drum stomp and a prickly lead guitar riff. Singer Paul Banks’ vocals drift above the mix with a slight sneer soaked in echo.” - Rolling Stone “[The Rover] is Interpol as shit, which means ricocheting guitars and an unstoppable rhythm section.” - Noisey “Interpol are back with ignited energy.” - Stereogum “A driving and relentless bit of post-punk revivalism” - Cons. of Sound
Unstoppable is both a celebration of Staton's legacy and a bold step forward, with a sound that's funky and contemporary, but still steeped in the Southern soul and blues of her Alabama roots. Featuring an ace rhythm section made up of Staton's sons, bassist Marcel Williams and drummer Marcus Williams (Isaac Hayes, Pointer Sisters), the album reunites the singer with producer Mark Nevers (Lambchop), who helmed His Hands (2006) and Who's Hurting Now (2009), the critically acclaimed albums for London label Honest Jon's that reestablished Staton as a force to be reckoned with. But where those albums showcased Staton's skills as an interpreter of bluesy ballads, Unstoppable which Marcus Williams co-produced with Nevers is a more celebratory, uptempo set. 'It's my kind of music,' she says proudly. 'It's more of a happy record, a dancing record.'
This Night Falls Forever, set for release on August 24, 2018 via Concord Records, is DeVotchKa's most ambitious album yet with more detailed arrangements, more people involved including full orchestras and an overall bigger sound. The band's sixth studio album features 10 tracks written and produced by frontman Nick Urata.
Ever the outlaw, Jennings has now crafted what might well be his most truly idiosyncratic work thus far, SHOOTER. Produced by longtime friend and collaborator, Low Country Sound founder Dave Cobb, at the renowned RCA Studio A on Nashville's Music Row, the album sees Jennings staking out a fairly straightforward goal: to simply make a great country record. It should be noted, Jennings' last studio album was a genuinely visionary tribute to Giorgio Moroder so in some ways, making a straight up country record is as much of a left turn as anything else in his brilliantly mercurial career thus far. But with songs like "Fast Horses & Good Hideouts" or the raucous "I'm Wild & My Woman Is Crazy," Jennings more than affirms his mission by returning to country's original, if oft misplaced, mandate: singing songs about growing up and getting older, about going out and getting trashed. In short, making music for real people with real lives. With SHOOTER, Jennings truly puts his own mark on country music, living up to his extraordinary birthright with unparalleled passion, experience, and heart.
2018 release. The Other Shore is the eighth studio album from Louisville, KY-based indie Americana trailblazers Murder by Death. It's an epic space-western about a ravaged earth, it's fleeing populace, and a relationship in jepoardy. Here, the group explores untapped genres, dynamic and emotional touches, intersecting and introspective storylines, and remote edges of the galaxy. Welcome, after nearly 20 years, thousands of performances around the world, and eight albums, you've landed on your new Murder by Death. The band's name is derived from the 1976 Robert Moore film of the same name. Murder by Death released it's first studio album (Like the Exorcist, but More Breakdancing) in 2002.
Since emerging in 1997, the GRAMMY® Award-nominated multiplatinum Chicago quintet—Tom Higgenson [vocals], Tim Lopez [lead guitar, vocals], Dave Tirio [rhythm guitar], Mike Retondo [bass], and De’Mar Hamilton [drums]—has amassed an enduring, engaging, and enigmatic catalog, spanning two gold-certified offerings All That We Needed (2005) and Every Second Counts (2006) and unshakable anthems such as the double-platinum “1,2,3,4” and platinum “Rhythm of Love.” Among the discography, “Hey There Delilah” went quadruple-platinum, topped the Billboard Hot 100, and earned a pair of 2008 GRAMMY® Award nominations in the categories of “Song of the Year” and “Best Pop Performance by a Duo or Group with Vocal.” Along the way, the five-piece logged countless miles on the road in front of sold out crowds in nearly every corner of the globe. After a whirlwind tour cycle supporting 2015’s American Nights, the guys hunkered down and began writing the ideas that would eventually comprise Parallel Universe. The band’s endlessly hummable signature melodies still shine at the center of this galaxy, but their Universe morphed into an otherworldly atmosphere of ethereal electronic pop strengthened by lush guitar tones and synth transmissions.
Singer/songwriter Amos Lee says his seventh studio album My New Moon is “a dedication…it’s an offering - an altar of sorts to those who have shared their sorrows with me.” It is a product of profound human experiences; loss, grief, hope, healing, love, sorrow, and rejuvenation. Each track on My New Moon takes a journey through these intense and personal experiences. Opening track “No More Darkness, No More Light” was rewritten entirely after the school shooting in Parkland, Florida, and speaks to the hope for change that lies in amongst tragic situations and challenges. “Little Light,” written for a young girl who beat cancer, is a positive message of spreading light for the world to see, even if you’re facing hardship. “Hang On, Hang On” reflects the helplessness that comes after the loss of a loved one, “Crooked” brings to light the difficult and confusing times we’ve faced throughout history in America, and “I Get Weak” is a beautifully dark love song to something that might kill you, but you need it to go on living. The album as a whole reflects the darkness and the light that we all both experience and bring into the world, and how through these personal experiences and hard times, we grow more connected to one another.
This 37 track, 2-CD set includes artists from all genres paying tribute to one of the greatest songwriters/performers of all time. Guest artists include, Willie Nelson, Dolly Parton, Merle Haggard, Kacey Musgraves, Cake, John Goodman, Brad Paisley and many more.
Seminal British Indie Pop band The Kooks return with their 5th album, "Let's Go Sunshine". The Kooks exploded onto the scene in 2006 with their debut album 'Inside In / Inside Out'. The heart and soul of "Let's go Sunshine" lies in it's hymns of lost innocence, fading relationships and the process of break-up and recovery. It's the sound of an ambitious, confident band stepping out and making a statement with their definitive album. Sing along indie anthems sit next to psychedelic flourishes, groove ridden blues and texture rich arena sized rock.
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.
Dissolution is the highly anticipated follow-up album to 2016's Your Wilderness and is the band's second album to feature King Crimson and Porcupine Tree drummer Gavin Harrison, spurring The Pineapple Thief on as leaders of Europe's experimental rock domain. Their efforts on Your Wilderness produced 4m+ album streams, a #7 in the UK Independent Charts and two extensive headline European tours culminating at London's Islington Assembly Hall where the concert was recorded for the live release Where We Stood. The new material establishes The Pineapple Thief's intent to elevate themselves to new heights, with a desire to develop their songwriting and technical capabilities, and with artwork created by iconic design agency Stylorouge, whose previous work includes Pink Floyd, David Bowie, Blur and British film Trainspotting. The album concept tells of the often-dark consequences of living in a society in which everything is played out on a public stage, a theme paralleled in the cover art, which was created by 'glitching' the original photographs.
The highly-anticipated album, The Tree of Forgiveness, is Prine's first collection of new material since 2005's Grammy-winning Fair and Square. Rather than going out on a limb, Prine cultivated the themes that have brought international acclaim since the 1970s. For example, he can take a topic like loneliness and make it funny or heartbreaking.
Prine teamed with Grammy-winning producer Dave Cobb to record in Nashville's historic Studio A, enlisting friends like Brandi Carlile, Jason Isbell, and Amanda Shires to sing along. The songs are new, although some had waited to be finished for decades, like a co-write with Phil Spectro called "God Only Knows." Another incomplete song, "I Have Met My Love Today," now celebrates the unexpected spark that leads to lifelong romance -- with a dash of youthful innocence. The musical arrangements may be simpler than on past efforts, yet his unique ability to distill complex emotions into everyday language remains fully intact.
Tony Bennett and Diana Krall celebrate their shared love of the music of George and Ira Gershwin on their new collaborative album, LOVE IS HERE TO STAY, set for a September 14th release.
LOVE IS HERE TO STAY is a subtle, sophisticated and beautifully rendered love letter to The Gershwins’ music and their status as one of the premiere songwriters of the American popular standard. It is a masterclass in vocal delivery and phrasing and the command that Bennett and Krall display of the material in both their duets and solo tracks makes it appear effortless, belying the honed skill of the vocalists. The duet tracks include “S’Wonderful,” “I’ve Got Rhythm,” “They Can’t Take That Away from Me” and “Fascinating Rhythm,” among them. “Fascinating Rhythm” was Tony Bennett’s first physical recording in 1949, made under his then stage name, Joe Bari, which he revisits as a duet with Krall for this project.
Towards the end of 2013 Jungle burst onto the scene with their first two singles: “The Heat” and “Platoon.” Appearing out of nowhere and propelled by feverish word of mouth online and IRL, Jungle would transform over the next few years from an anonymous production duo to a kaleidoscopic, personality-filled seven piece live band built around the core duo of Josh Lloyd-Watson and Tom McFarland, whose debut album (2014’s self-titled Jungle) was one of the year’s defining debut records; one that would end up nominated for the UK’s Mercury Music Prize and go on to sell over half a million copies. Jungle have now returned with their forthcoming second album FOR EVER which was recorded in London and Los Angeles; Josh and Tom describe it as “a post-apocalyptic radio station playing break up songs.” If Jungle’s first album was their imaginary soundtrack to the places they had never been, their new record captures the landscapes they had so often dreamed of. To write and record the new album, J and T swapped Shepherds Bush for the Hollywood Hills. Their romanticization of The California Dream clashed with the reality of living it—although the experience led them back home to London to finish the album, the journey itself ultimately defining the music it produced. Including singles “Happy Man” and “House In LA,” Jungles’ FOR EVER is due out this September. SELLING POINTS Headline touring this fall and in early 2018 Extensive major festival dates this summer and fall 120,000 equivalent album units in the US, 50M streams Full commercial Alt and AAA radio in full swing for first single “Happy Man” Three more band-directed music videos to come pre-release Massive marketing and editorial support confirmed from all digital retailers Global release week events for fans Late night TV in Sept right around release
Sleaford Mods are pleased to announce their new EP Sleaford Mods, which is released via Rough Trade Records on September 14th 2018. The EP will be available on 12”, CD & DL. This is the band’s first new music since last year’s album English Tapas. The EP was recorded in Spring 2018 in Nottingham, and features five new tracks including lead track “Stick in a Five & Go.” Jason Williamson says about the new songs: “The lead tracks are mostly full of violent tendencies that only transpire through imagination. People are powerless under the political monster and the intense anger and frustration morphs into illusions of attacking each other through the bravado of social media, depression and paranoia.” “A brilliant piece of art” - MOJO “With echoes of the Fall and Throbbing Gristle, the stark tracks fittingly recall an era that demanded engaged art.” - ROLLING STONE First new music since 2017’s critically acclaimed English Tapas Starred in the documentary “Bunch of Kunst” which premiered at festivals worldwide and won the Q Award for Best Film (2017) US touring slated for early 2019
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.
“Having this identity—radical indigenous queer feminist—keeps me going. My music and my identity come from the same foundation of being a Native woman.” Katherine Paul (aka KP) is Black Belt Eagle Scout, and Mother of My Children is her debut album. Recorded in the middle of winter near her hometown in Northwest Washington, Paul’s connection to the landscape’s eerie beauty are palpable throughout as the album traces the full spectrum of confronting buried feelings and the loss of what life was supposed to look like. Paul reflects, “I wrote this album in the fall of 2016 after two pretty big losses in my life. My mentor, Geneviève Castrée, had just died from pancreatic cancer and the relationship I had with the first women I loved had drastically lessened and changed.” Heavy and heartbroken, Paul found respite from the weight of such loss in the creation of these songs that “are about grief and love for people, but also about being a native person in what is the United States today.” On Mother of My Children, the songs weave together to capture both the enduring and fleeting experiences of loss, frustration, and dreaming. The structures are traditional, but the lyrics don’t adhere to any format other than what feels right in the moment. Mother of My Children begins with lead single “Soft Stud,” which Paul describes as her “queer anthem.” It’s “about the hardships of queer desire within an open relationship.” It’s followed by “Indians Never Die,” a call out to colonizers and those who don’t respect the Earth. As Standing Rock was happening, many people in Paul’s life were coming together to fight for the most basic necessity to sustain human life: water. “Our treaty rights weren’t being honored. Imagine hearing on the news that the government doesn’t support you as a human being and never has. They don’t care about the water, they don’t care about how they are destroying what is around them. Indigenous people are the protectors of this land. Indians never die because this is our land that we will forever protect in the present and the afterlife.” Paul grew up in a small Indian reservation, the Swinomish Indian Tribal Community, surrounded by family focused on native drumming, singing, and arts. From an early age, Paul was singing and dancing at powwows with one of her strongest memories at her family’s own powwow, called the All My Relations Powwow. Paul reminisces, “When I was younger, my only form of music was through the songs my ancestors taught the generations of my family. Singing in our language is a spiritual process and it carries on through me in how I create music today.” With the support of her family and a handful of bootleg Hole and Nirvana VHS tapes, Paul taught herself how to play guitar and drums as a teenager. In 2007, she moved to Portland, Oregon to attend college and get involved with the Rock’n’Roll Camp for Girls eventually diving deep into the city’s music scene playing guitar and drums in bands while evolving her artistry into what would later become Black Belt Eagle Scout.
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...
New Routes, the brand-new album by Asleep At the Wheel, marks both a new path forward and a nod to the freewheeling roots (get it?) of one of Texas' most beloved bands. After a decade of collaborating on records with friends, including Willie Nelson on 2009's Willie and the Wheel, and paying ongoing tribute to the groundbreaking music of Western Swing pioneer Bob Willis, the Wheel is marking 2018 with their first album of new material in a decade. With a fresh lineup, a bracing blend of original songs and vibrant cover material and some unanticipated new musical tangents, Asleep At the Wheel demonstrates convincingly it's more relevant, enjoyable and musically nimble than any time in its 45-year history.
Good Charlotte return with their 7th studio album with Generation Rx. The songs on GENERATION RX cover a range of deeply personal subjects, with an underling theme touching on the disconnection and hopelessness that seems to be prevalent with youth these days.
Alejandro Escovedo s new album is perhaps his most varied and expansive album to date. It is his first album recorded outside of America, in northern Italy, with co-writer Don Antonio Gramentieri and a band of Italian musicians. It is also Alejandro s first ever concept album drawing the story of two young immigrants to the US, who bond over a mutual love of punk rock as they struggle with the racism and discrimination as immigrants. Special guests on the album include Wayne Kramer (MC5), Joe Ely, and Peter Perrett and John Perry of The Only Ones. The sound ranges from straight ahead rockers like, Sonica USA, to ballads like the classic Joe Ely penned, Silver City, and everywhere in between. To describe this album as, "epic," might be an understatement.
The Lemon Twigs have announced details of their most ambitious project to date: their second album, Go To School. A conceptual musical conceived by brothers Brian and Michael D’Addario, the 15-track opus was written, recorded, produced and mixed by the pair at their home in Long Island. Go To School tells the heartbreaking coming of age story of Shane, a pure of heart chimpanzee raised as a human boy as he comes to terms with the obstacles of life. Todd Rundgren and their real life mother Susan Hall play Shane’s parents. The album features contributions from Jody Stephens (Big Star), Natalie Mering (Weyes Blood) and their father Ronnie D’Addario. The Lemon Twigs emerged in 2016 with their debut LP Do Hollywood, which was praised by Rolling Stone for “toting hooky songs that stand out for their intricate arrangements and delectable melodies” and NPR Music who mused, “Like listening to music from a time that never was…a baroque rock romp.” The band quickly earned fans in Elton John, Questlove, and Jack Antonoff among many others, the latter of whom said, “Prediction: The Lemon Twigs will usher in a new phase of rock.” This fall, The Lemon Twigs will join Arctic Monkeys on their UK and European tour as well as two nights at the Hollywood Bowl in LA. The band will tour well into 2019.
At this point in my life and career, I am happy to be given any opportunities, and I am really, really proud to be doing this album. It’s a project very dear to me – a collection of songs by artists who have departed in the last several years including Leonard Cohen, David Bowie, Tom Petty, Chris Cornell, Amy Winehouse, and George Michael to name a few. I feel these souls have made a real, lasting contribution to the art of the popular song, and to honor them is my deepest pleasure.
Richard Thompsons new album, 13 Rivers, is the artists first self-produced record in over a decade. 13 Rivers is a very stripped down, bare-bones recording and according to Thompson the album is a reflection of current events that have happened in his life. This has been an intense year for myself and my family, getting older doesnt mean that life gets easier! There are surprises around every bend. I think this reflects in the immediacy of the stories, and the passion in the songs. Sometimes I am speaking directly about events, at other times songs are an imaginative spin on what life throws at you. The music is just a mirror to life, but we try to polish that mirror as brightly as possible. The album was recorded at Boulevard Recording in Los Angeles, California. 13 Rivers features Richards regular accompanists, Michael Jerome and Taras Prodaniuk, as well as Thompsons guitar tech, Bobby Eichorn, on second guitar. Each track on the album was recorded in analog, with minimal overdubbing. Boulevard is a really funky-looking studio, says Richard, but it sounds great. It used to be called The Producers Workshop, and was owned by Liberace, whose ghost is reportedly still hanging around. Steely Dan records were done there, and The Wall by Pink Floyd was mixed there. Clay Blair, the engineer, is a Beatles nut, and has every piece of Beatles gear he can lay his hands on - so if things sound a bit like Abbey Road, so be it! 13 Rivers consists of thirteen tracks. It is an album as much about growth as it is about reflection. Says Thompson, I dont know how the creative process works - I suppose it is some kind of bizarre parallel existence to my own life. I often look at a finished song and wonder what the hell is going on inside me. We sequenced the weird stuff at the front of the record, and the tracks to grind your soul into submission
'Benton County Relic' is the brand new album from Grammy-nominated artist Cedric Burnside. As the grandson of legendary bluesman R.L. Burnside, Cedric carries on the storied tradition of Mississippi Hill Country blues for a new generation.
My Way, Willie Nelson's new studio album, explores his admiration and connection to Frank Sinatra's art and artistry across 11 fresh, intoxicating takes on songs made famous by the Chairman of the Board. Recorded in the tradition of 1978s legendary Stardust and 2016s Grammy Award-winning Summertime: Willie Nelson Sings Gershwin, My Way is a warm and personal nod from one icon to another. Included are Willie's takes on timeless tunes like "Summer Wind," "It Was A Very Good Year," "I'll Be Around," "Fly Me To The Moon," "What Is This Thing Called Love" (cast as a duet with fellow Grammy winner Norah Jones) and, of course, the anthemic "My Way." Add Willie's stalwart backing band plus lush arrangements for full string and horn sections - all produced by Grammy winners Buddy Cannon and Matt Rollings - and you've got an album that's as cool as it gets.
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.