Guitarist Marc Ribler, musical director for Little Steven and the Disciples of Soul, steps into the spotlight with the release of “Shattered,” a driving East Coast heartbreak rocker oozing West Coast Laurel Canyon style. The song, the lead single from his upcoming full-length “The Whole World Awaits You” (co-produced and arranged by Steve Van Zandt), “Shattered” chimes with a jangly 12-string Rickenbacker, crunchy open G riffs, punchy slide guitar, a bed of pristinely layered acoustic guitar tracks and Ribler’s plaintive, near-broken but head still held high vocals. If you miss Tom Petty and the classic sound of world-class musicians playing together for the song, you’re sure to be smiling and singing along to “Shattered.”

Its accompanying B-side “Hand Me Down,” with its minor key vibe and tabla percussion is an equally impressive modern-day take on the exploratory sounds of the ‘60s, spiced with a Hollies feel and a blistering guitar and violin solo call-and-response section.

“I grew up on that music,” Ribler says “Steven jokes, ‘you’re going to make me love the Eagles!’ That’s not really his thing. He’s more of a Byrds fan. The rest of the record has that Americana California sound as well.”

Ribler has spent the last seven years as Steve Van Zandt’s right-hand man, serving as musical director for the 15-piece R&B-influenced Disciples of Soul band. Van Zandt keeps the band busy, whether it’s recording or near non-stop touring. Needless to say, with that much responsibility, and his dedication to making sure the music is the best it can be, Ribler’s attempts to release a new record were put to the back burner until now.

“Shattered” has its origins as a country song, written years ago with songwriter Christina Aldendifer to pitch for other artists to record. As is the case, the song sat in limbo until Ribler began compiling a track list of potential songs to record for a new release.

Christina and I wrote it in 2010. It’s one of those songs that just felt good,” Ribler said. “I had been going down to Nashville a lot at the time to co-write. It was the first time I had written with Christina and we wrote it on the first afternoon.”

“That song was written to get a cut placed in Nashville,” he explains. Both Ribler and Aldenifer count themselves as strong lyricists who were able to easily bounce off each other’s creative input. They wound up writing the bulk of the song that day and then finished it via email.  “It’s nice when there are two lyricists. When we made the demo, I liked the way it sounded, which doesn’t always happen for me.” Ribler reveals the song was originally written as a much mellower country song. When he resurrected the song, he experimented with a few different ideas. “It really found its voice and it became this other thing when I started the open G Keith Richards sounding guitar part and added slide guitar.”

The Brooklyn-born Ribler moved to New Jersey at a young age, growing up in rural Jackson, a few miles from the famed seaside beach town of Asbury Park. A phenomenal guitarist, he released two solo records, found a niche in the New York City scene and supported several artists as guitarist and producer. A mutual friend introduced him to Van Zandt, who quickly recruited him into a re-tooled Disciples of Soul project.

In 2017 as the Disciples Soulfire tour was wrapping up, Ribler re-focused his efforts on putting together his own album. He brought in Disciples band mates Rich Mercurio (drums), Andy Burton (organ, keys), and Jack Daley (bass) and recorded fifteen songs at New Jersey’s Shorefire Studios in three days, with engineering by Joe DeMaio.

“Steve would send me notes about the show that night, what songs we might add from his repertoire.” The band would also add songs on the spot with little rehearsal, such as when Chuck Berry, Tom Petty and Malcolm Young passed away, and the band wanted to pay tribute to their heroes. “Eddie Manion (sax and horn section leader) and I would scramble and make sure everyone had the music. We’d get to the hotel, learn the song and then rehearse at the venue. There’s very little time for anything else.”

After the last tour, Ribler was on the phone with Van Zandt and told him he was mixing his own record, which piqued the Rock and Roll Hall of Famer’s ear. “He said he would love to hear it. I sent it to him and he loved it. We worked on some arrangements together virtually and over email. And he said he wanted to put it out on his label, Wicked Cool Records.”

Funny enough, Ribler adds, it wasn’t the first time he had sent this music to his boss. “Charley Dayton, who played drums on our first tour with the Disciples, suggested I send my initial rough mixes to Steven, which I did back on an earlier tour. I sent him a Dropbox link. Obviously the timing wasn’t right, in the craziness of the tour schedule. So, I try and keep things compartmentalized and separate my work from my role as his music director. Steve’s got a lot going on. I can’t imagine being him and having the energy to do anything else.”

Ribler credits Van Zandt for making invaluable contributions to the material on The Whole World Awaits You.

“He’s really good about cutting to the chase. I’m better at doing that when I’m producing other people’s songs. But when it’s your own material, you become married to things you shouldn’t be married to- you’re going to divorce them eventually! It was so vital having Steven’s decades of hit making experience as a sounding board for feedback in making this record.”

Shattered” is available for pre-order now at Wicked Cool Records.  Marc Ribler’s full-length upcoming release The Whole World Awaits You will be released on July 9th on Wicked Cool Records.

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Los Angeles indie rocker Petey has teamed up with Miya Folick for a new track. “‘Haircut’ is a very fun song I wrote with my friend Miya about getting an extreme haircut and not wanting to talk about it,” Petey explains. “I hope you like it. it was really fun to make. We recorded it in Miya’s apartment.”

Petey started this song and showed it to me. I immediately related,” Folick adds. “Just scroll through my feed to see a history of emotional haircuts. I really love the way it turned out. And it’s one of my mom’s favourite songs that I’ve made!”

“I was in a quarter-life crisis,” Petey sings on the track. “Remember that summer when I shaved my head/ Just to prove that I had control over something?” In the accompanying music video, Folick actually shaves her head. The synth-driven tune, which Petey and Folick co-wrote is a retrospective look back at the failed, spontaneous haircuts the pair have undergone. Furthermore, Folick really committed to the video, as she actually shaved her hair off for it. On the track, Folick joins Petey in his unique songwriting style: It seems like only a Petey song can reference both The Sims and Natalie Portman.

“Haircut” by Petey and Miya Folick  is out now on Terrible Records.

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Holly Humberstone was the musical guest on The Late Late Show with James Corden last night (February 25th) where she not only delivered a poignant performance of the title track from her debut EP, ‘Falling Asleep At The Wheel’, but also confirmed that she’s written a song with The 1975’s Matty Healy. Each week night, THE LATE LATE SHOW with JAMES CORDEN throws the ultimate late night after party with a mix of celebrity guests, edgy musical acts, games and sketches. Corden differentiates his show by offering viewers a peek behind-the-scenes into the green room, bringing all of his guests out at once and lending his musical and acting talents to various sketches. Additionally, bandleader Reggie Watts and the house band provide original, improvised music throughout the show. Since Corden took the reigns as host in March 2015,

“I still can’t quite believe it that I even got the chance to work with Matty, which is so cool,” she said, talking to Corden. “I think he’s got some crazy fans and they must have found the name of the song which is called ‘Please Don’t Leave Just Yet’ somewhere on the deep, dark web. It’s going to be a part of the next EP which should be coming out hopefully within the next few months.”

Watch her performance of ‘Falling Asleep At The Wheel’ 

Late Late Show music guest Holly Humberstone shares a special performance of her hit song

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California duo Kyle Krone and Brandon Hoogenboom, combine as Casual Vice to bring a surfeit of blissed out West Coast vibes to latest EP, ‘Joie de Vivre’ – released earlier this month – and nowhere better than on this reverb and guitar-driven track ‘Hourglass’.

The five-minute-plus number exudes beautifully produced instrumentation and harmonies, with bass and drums effortlessly intercut.

Lyrically, Brandon describes ‘Hourglass’ as a “deeply personal autobiographical song of Kyle’s life and childhood that takes a beautifully honest and transparent look at the always diminishing asset of time, and impermanence of life itself and the beautiful but painful realizations that are associated with this awareness.”

Hourglass” by· Casual Vice Released “Joie De Vivre” EP on: 2021-02-12

Chaotic and raucously compelling in equal measure, post-punk trio Social Haul announce their arrival with gritty debut effort ‘Wet Eyes’, set for release February 24th via FatCat Records (Honeyblood, The Twilight Sad, We Were Promised Jetpacks).

Partnering up with the cult indie label and fronted by TRAAMS’ Leigh Padley, the group’s first offering provides a firm indication of what to expect from the new project, with its potent lyricism, sprawling vocals and relentless riffage demonstrating their electrifying potential amidst a rip-roaring wall of noise.

Detailing their upcoming release, Padley explained: “‘Wet Eyes’ was inspired by an overheard conversation in the pub. The fellas were riffing on the inherent obsolescence of all human skill and the inevitable deterioration of their individual dreams. They concluded that it was in fact quite liberating to be but a cog in a machine and seemed to recognise their fortune in this understanding, all the while haphazardly navigating their flippant political leanings and the football scores. They had a good night I think, I thought it was quite nice”.

‘Wet Eyes’ by Social Haul. Out now on FatCat Records.

Released February 24th, 2021

A New Collaboration Featuring Jeremy Earl of Woods & Glenn Donaldson of Skygreen Leopards, (The Reds, Pinks & Purples) met sometime in the mid-aughts and bonded over a love of tambourines and DIY sounds. They have shared many stages since, and their first serious collaboration was on the 2011 Woods album Sun & Shade. Around 2018, Earl was restless in upstate NY and accepted an invite to record in Donaldson’s studio in an undisclosed rural coastal town in Northern California.

In a week they emerged with nearly an album’s worth of hazy folk-rock and psych-pop with touches of more outré lo-fi noise. Jeff Moller (The Papercuts) added bass, and they put the finishing touches on during quarantine. Heaven and Holy ebbs and flows like coastal fog between songs and dreamy instrumentals splitting the difference between The Clean’s Unknown Country and The Byrds’ Fifth Dimension. Today the duo shares the album’s wistful first single “Gone” 

Jeremy Earl & Glenn Donaldson met sometime in the mid-oughts and bonded over a love of tambourines and DIY sounds. They shared many stages since, and their first serious collaboration was on the 2011 Woods album Sun & Shade. Around 2018, Earl was restless in upstate NY and accepted an invite to record in Donaldson’s studio in an undisclosed rural coastal town in Northern California. In a week they emerged with nearly an album’s worth of hazy folk-rock and psych-pop with touches of more outré lo-fi noise. Jeff Moller (The Papercuts) added bass, and they put the finishing touches on during quarantine. “Heaven and Holy” ebbs and flows like coastal fog between songs and dreamy instrumentals splitting the difference between The Clean’s Unknown Country and The Byrds Fifth Dimension.
 
Painted Shrines are :
Jeremy Earl: Guitars, Vocals, Drums, Percussion, Mellotron, Casio
Glenn Donaldson: Guitars, Organ, Casio, Backing Vocals
Jeff Moller: Bass, Electric Piano on track 11

New Album “Heaven and Holy” Out March 5th on Woodsist Records releases March 5th, 2021

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Flock Of Dimes (the solo project of Wye Oak’s Jenn Wasner) will release her new album “Head of Roses”, on April 2nd via Sub Pop Records. Here’s the first single. Her most recent solo project as Flock of Dimes was the EP Like So Much Desire, which also came out last year on Sub Pop. The video for her new single “Two.” The release coincides with an announcement by Wasner that her forthcoming album Head of Roses . Check out the Lola B. Pierson and Cricket Arrison-directed video for “Two,”. 

Directors Pierson and Arrison speak about the “Two” video in a press release: “The world of the video shows two humans during three consecutive days. One human lives her life from morning to night, the other from night to morning. In the middle of the day they meet and the next day begins. By exploring dichotomies (natural/artificial, day/night, everyday/majestic) the work points to the pain caused by categorization and the joy of unification.”

Wasner adds: “‘Two’ is about trying to find a kind of balance between independence and interdependence, and the multitudes within ourselves. It’s about trying to reconcile the desire to maintain a sense of personal autonomy and freedom with the need to connect deeply with others. And it’s about struggling to feel at home in a body, and learning how to accept that the projection of self that you show to others will always be incomplete. I made this video with an incredible team of generous and talented people, including some very dear old friends. I think what we made captures the spirit of the song perfectly—the sense of delight and wonder at the absurd beauty of everyday life, and the true moments of spontaneous joy that can erupt in those rare moments when you catch a glimpse of yourself the way others see you.”

Head of Roses was produced by Nick Sanborn (Sylvan Esso) and Wasner. which comes out on April 2nd via Sub Pop.

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Palehound (Ellen Kempner) and Jay Som (Melina Duterte) have joined forces for a new project, Bachelor, and shared their first single together via Polyvinyl, “Anything At All.” According to a press release, the two musicians began writing and recording together in pre-quarantine 2020, and they wrote, performed, and produced their new single entirely on their own.

“Anything At All” begins with sticky bass lines and steady cymbal hits, met with sparse moments of synth and clever lyrical imagery comparing a menacing adversary to a spider. Later, the track transitions into a swelling moment of head-bobbing instrumentation (in addition to a powerful guitar solo) while its infectious chorus rings out. The duo state in a press release: “We’re so excited to finally share this song with y’all and announce our new band! We’ve been dear friends and huge fans of each other for years and were lucky enough to get to work together in January 2020 before quarantine. We feel that ‘Anything At All’ is an even blend of our tastes and writing styles and to release it feels very hopeful and joyous to us.”

In related news, Palehound has a livestream event, a concert to commemorate the one-year anniversary of their cancelled US tour supporting Black Friday,

The last show Palehound played was at Cafe du Nord in San Francisco on March 11th 2020, halfway through a tour that felt like a blissful dream. Though news of the pandemic shone through our phones and the venue provided hand washing instructions to the lyrics of our songs, we had no idea that night would be the last time we’d play that setlist live. Since returning from tour, Ellen moved to upstate NY and started to work at a recording studio in Stanfordville NY called the Chicken Shack, owned and operated by Nick Kinsey. Back in October, we decided to make a video of us performing the set and decided to do it at the studio so we’d get a great recording of it. We’ve been sitting on it for a minute but it seems right to release it now around the year anniversary of our tour being cancelled. We really miss playing with each other and playing like for y’all and this feels like the closest we can get to that for now.

“Anything At All” is the debut single from Jay Som & Palehound’s new joint project, Bachelor, out now on Polyvinyl Records, Lucky Number, and Milk! Records.

FOXY SHAZAM – ” Burn “

Posted: February 27, 2021 in ALBUMS, MUSIC
Tags: ,

Foxy Shazam are self-releasing their sixth album, “Burn”, via their new label EEE OOO AH, released last December. The distant and remote collaboration between the five-piece is an attempt to further evolve the band’s sound. Overall, Foxy Shazam is always a nice, modern addition to glam, hair rock, but Burn as a whole will not be a standout in Foxy Shazam’s discography. The album’s focus on psychedelic, wizardry metal is overused vs. a fun novelty. The album is bookended with the high notes of “Burn,” and “Dreamer,” at the start, and ending with “Suffering” and “The Rose.” 

Full of promise, the Ohio classic rock outfit were expected to come back with a bang. Yet, sadly, in keeping with the tone of 2020, the band’s first album through their own label, Eee Ooo Ah, turns out to be underwhelming at best.

As the opening notes of title-track introduce the album, there’s a tingling of excitement in the air. The album revs up with undeniable potential as we sit and wait impatiently for a tidal wave of colossal riffs and unabashed rock ‘n’ roll energy to smack them in the face and then, finally… well, nothing. It’s hard to put a finger on it, but there’s something missing. The track, and subsequently the rest of the album, falls flat, and it’s a real shame. To give the album its due, it’s not without its moments. There are flashes of brilliance, such as the fun, funky ‘Doomed’ with its rolling drums and impressively fast-paced vocals, and the playful brass section in ‘In My Mind’. But, on the whole, ‘Burn’ feels like a tongue-in-cheek caricature of 80s glam rock and is more like something you’d hear on the ‘This Is Spinal Tap’ soundtrack than an album release in 2020.

Burn by Foxy Shazam