Archive for the ‘ALBUMS’ Category

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Wolf Alice topped the bill on last night’s episode of Later… with Jools Holland, playing two new tracks from their new album “Visions Of A Life” The Band have been around for a few years now , and to celebrate the release of their second record, Visions Of A Life,

In what was a particularly strong line-up on the long-running BBC show, London four-piece Wolf Alice ranked higher than the likes of King Krule, SZA, Grizzly Bear and Paul Heaton + Jacqui Abbott who also featured.

To kick things off, Wolf Alice rolled into ‘Beautifully Unconventional’ before playing ‘Don’t Delete The Kisses’ to close the show.

Wolf Alice perform Beautifully Unconventional on Later… with Jools Holland, BBC Two (17th October 2017)

Wolf Alice perform Don’t Delete The Kisses on Later… with Jools Holland, BBC Two (17 October 2017)


Screaming Females. The New Jersey DIY-punk luminaries have announced their seventh studio album All At Once, due out next year on February 23rd, on the ever wonderful Don Giovanni Records.

Listen to opening track Glass House which singer/guitarist, Marisa Paternoster describes thus, “It’s very simple — just bass, drums, and two simple riffs. In the past, I might have insisted on adding more. Practicing self-restraint is something I have consciously been trying to do.”

The New Jersey DIY-punk luminaries Screaming Females have announced their seventh studio album All At Once, due out February 23rd, 2018 on Don Giovanni Records.

It will be made available in various formats including Digital, CD, Double-LP vinyl with a Limited Edition 7” and a Deluxe Limited Edition LPx3 with the 7” and an exclusive bonus LP of album demos. The band collaborated with producer Matt Bayles (Pearl Jam, Mastodon), setting out to make an album in the spirit of a salon-style gallery show, where larger pieces provide an eye-level focal point to a galaxy of smaller works. Concision took a back seat to experimentation, with arrangements meant to evoke the energy and spontaneity of their live performances.

Now more than a decade into its existence, Screaming Females can claim something that few of their peers possess in a comparable capacity: experience. “When you’ve been a band for 12 or 13 years, the resources can dry up and you just go back to what feels comfortable,” explains Dougherty. “The other option is that you develop stuff that a younger band would not have been able to do.” All At Once is the evidence of that growth — in its sprawl and scope, but also in its subtleties. “A song like ‘Glass House’ is something we knew we were capable of, but it took a while to fully embrace,” says Paternoster. “It’s very simple — just bass, drums, and two simple riffs. In the past, I might have insisted on adding more. Practicing self-restraint is something I have consciously been trying to do.”

Rhino Records is planning 11 titles for this year’s Record Store Day Black Friday–and two of them are fairly unexpected catalogue treats from two very different artists.

Richard Hell and the Voidoids will be celebrating the 40th anniversary of their debut album “Blank Generation” with a super deluxe reissue. Originally released on Sire Records in 1977, as the music world burned with Punk.

Richard Hell and his band were pioneers of the New York punk scene and this album is considered a seminal LP for the punk movement as a cornerstone of the scene. The title track was important, but this album is packed full of great songs.

The Blank Generation reissue includes previously unreleased alternate studio versions, out-of-print singles, rare bootleg live tracks from Richard Hell and the Voidoids’ debut 1976 appearance at CBGB – seriously how much do you wanna hear that!

The record’s booklet features an essay by Richard Hell, excerpts from his notebooks, unpublished photos of the band from Roberta Bayley, and even an interview with Julian by Hell himself.

First up, the label has announced an upcoming expanded edition on CD and LP of Richard Hell & The Voidoids’ Blank Generation. Hell, a founding member of the band Television and one of the key figures of early punk rock in New York and beyond (his personal style of spiked hair and safety pins is said to have influenced Malcolm McLaren’s Sex shop and the look of the Sex Pistols), formed The Voidoids with guitarists Ivan Julian and Robert Quine (later of Lou Reed’s band in the early ’80s) plus drummer Marc Bell (who a year later would change his name to Marky Ramone and drum for the Ramones). Blank Generation remains a touchstone of punk’s original wave; Robert Christgau cheekily decreed it was perfect “for those very special occasions when I feel like turning into a nervous wreck.” This expanded 2CD or 2LP edition, available November 24th as an “RSD First” release at 2500 units on each format, restores the album’s original cover and running order on the first disc (remastered by the album’s original engineer, Greg Calbi at Sterling Sound) and includes a 12-track bonus disc with alternate takes, live tracks recorded at legendary New York City punk club CBGB and more.

Richard Hell & The VoidoidsBlank Generation: 40th Anniversary Edition

CD/LP 1: Original remastered album (released as Sire SR 6037, 1977)

  1. Love Comes In Spurts
  2. Liars Beware
  3. New Pleasure
  4. Betrayal Takes Two
  5. Down At The Rock and Roll Club
  6. Who Says?
  7. Blank Generation
  8. Walking On The Water
  9. The Plan
  10. Another World

CD/LP 2: Bonus album

  1. Love Comes In Spurts (Electric Lady Studios Alternate Version)
  2. Blank Generation (Electric Lady Studios Alternate Version)
  3. You Gotta Lose (Electric Lady Studios Outtake Version)
  4. Who Says? – Plaza Sound Studios Alternate Version)
  5. Love Comes In Spurts (Live @ CBGB – 11/19/1976)
  6. Blank Generation (Live @ CBGB – 11/19/1976)
  7. Liars Beware (Live @ CBGB – 4/14/1977)
  8. New Pleasure (Live @ CBGB – 4/14/1977)
  9. Walking On The Water (Live @ CBGB – 4/14/1977)
  10. Another World (Ork Records Version – from Ork single 81976, 1976)
  11. Oh (from Wayne Kramer Presents Beyond Cyberpunk – MusicBlitz 30005, 2001)
  12. 1977 Sire Records Radio Commercial

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The Alternative-Rock band’s fifth album was recorded in New York and released by Enigma Records. It was their last recording before they signed to a major label and received huge praise from critics. Considered to be the pinnacle of the band’s career: it fulfilled the band’s fullbore aesthetic and indulged their variegated and broad emotional palette. Few albums of the 1980s were as spectacular, influential and profound. The song’s compositions were varied and textured whilst the lyrics switched between mature reflectiveness and emotionally-charged.  Several friends of the band, including Henry Rollins, had long praised the band’s long live improvisations and told the group that its records never captured them. With Moore on a writing spree, the album ultimately had to be expanded to a double album. Sonic Youth were, 

It’s radical, political edge stunned critics at the time. It is hard to say how important the album is  and how many bands were compelled to record music because of Daydream Nation – but Sonic Youth laid down an astonishing album. Many would have liked it stretched to a triple album but that might have been excessive. It only has twelve tracks but longer numbers The Sprawl and Total Trash both exceed seven minutes whilst the finale, Trilogy, is nearly fifteen minutes in length. An essential album for those who appreciate genius music – not just reserved for Sonic Youth fans.


Though prolific, Los Angeles jangle-pop heroes Allah-Las are men of few words. At least, Then again, it’s hard to blame them, as they’ve had to do a lot more interviews than normal in the last couple months for all the wrong reasons: The band made international news recently for being faced with a terror threat at a tour stop in Rotterdam. They all ultimately made it out safe, as did their fans, but one can’t blame them for being shaken, much less for not wanting to talk about it any more than necessary.

With that in mind, we instead discussed the release of their new album Covers #1 , An album of cover songs recast in the band’s particular style—with guitarist Pedrum Siadatian. Therein, the band tackles deep cuts by legends such as George Harrison and Television, as well as a couple songs by performers whose songs are all deep cuts: Further and Kathy Heideman. The EP is due out November 3rd via Mexican Summer, and Allah-Las are due to appear at the Desert Daze festival in Joshua Tree .

The band recently were interviewed

Is there any intended thematic unity between the songs on Covers #1?

The idea was just to cover songs we liked with our production style.

What is it about these particular songs that made you feel like they’d be a good match for that production style?

We were able to quickly envision where we could take the songs. With the George Harrison song in particular, we heard a classic jangly pop song that was swept up in the production trends of ’80s.

Do you think these covers will work their way into your live set very often?

No, not often. It was more of a recording endeavor with these than anything.

You cover “J.O. Eleven,” a track by obscuro ’90s indie rock band Further. You can barely find evidence of Further online; one would have to, say, sift around in an old stream of a radio show to even dig up the original track. When and how did y’all first come across them?

We’re buddies with OG members Brent and Darren Rademaker, and we used to work with the drummer, Kevin Fitzgerald, at Amoeba [Music] years ago, before he moved to Alaska. “J.O. Eleven” was always floating around in MP3 form between friends, but it was hard to get a physical copy because it was only included on a rare Italian pressing of their record Golden Grimes. We did our best to emulate the original because it’s so good to begin with; the only problem with the original is that there’s a distracting loud buzz from one of the amps on the recording.

It should be noted that the guy who wrote it, Josh Schwartz, passed away recently, after a battle with ALS, and a lot of friends, fans, and fellow musicians are going back and revisiting the amazing body of work he left behind. Hopefully this cover will bring more attention to the great music he made over the years with Further, Summer Hits, Beachwood Sparks, and Painted Hills.

That’s a very sad thing. Are you all longtime fans of Schwartz’s music? I know his work is pretty widely beloved—a friend of mine traveled across the country from NYC several times over the years to see him perform, in various iterations—but I’m sure that’s doubly true in your neck of the woods. Without getting too personal, what does his music mean to you, or to the band in general?

For me, he was special because he had a timeless writing style. He was really good at reinterpreting the past and making it fresh again, and that’s a realm that we’re working in, as well.

Is there a band that you would not only never cover, but which you think should never be covered by anyone because the songs are too sacred and/or dependent on the specific individuals who made the originals?

I don’t think anyone should ever cover [The Velvet Underground’s] “Pale Blue Eyes.”

Why’s that? Because of Lou Reed‘s performance? The recording? What is it about it that makes it untouchable?

Because no cover could ever touch the original. I’ve cried to it. Sacred territory!

One more, extremely important question: Who does the best cover of “It’s All Over Now, Baby Blue”?

Them. FL

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Erik Walters has something to say. The musician, who records under the name Silver Torches, has been sowing the long, hard road into adulthood, and his new album, Let It Be A Dream, As he offers glimpses of what he’s seen along the path. The answer is ? A lot of ambiguity and fitful progress, which will surprise approximately nobody who’s ever tried to change or loved someone who has. In “If I Reach,” Walters wanders through a lush soundscape, his voice pillowing over a steady acoustic strum until it blossoms into a bright chorus. “If I reach out my hand to you,” he sings, not finishing the thought.

In addition to playing with David Bazan, Walters tours with Perfume Genius, and while it may be a bit too tidy to say that his own music splits the difference between Bazan’s angular folk and Mike Hadreas’s defiant grandiosity, there is a crack to “If I Reach” that summons that chorus to attention and causes it to fall in line before it drifts into a dream in a way that recalls the best of both of those musicians’ work.

The clip was directed by Ben Park, who picked up on Erik Walters’s questing and sent him out on a path of his own. “The song immediately conjured the heat of the dusty road,” Park says, “and that’s where we began. From there we followed, to see where the road would lead us. The resulting experience was an adventure in searching for what lies beyond the bend.”

If I Reach (Official Video) From the album “Let It Be A Dream” out 10/6/17

Slotface sit in the middle of the street

From performing for inmates in a Norwegian jail chapel to hitting up the Art Rock festival stage straight from a hospital ward, Sløtface don’t do things by halves. Informed, intellectual, badass and upfront, the young band from Norway’s Stavanger have not only made waves thanks to their pop punk hooks and sharp, relatable lyrics, but also their steadfast belief that a band can do more than just make music.

That approach has already afforded them some rare experiences, like, as lead singer and songwriter Haley Shea puts it, their own version of Johnny Cash’s Folsom Prison performance. “That was our reference point,” she says.

“We did a government-funded tour of these Norwegian high schools that have this cultural program and the inmates at this prison receive the same high school education, so obviously they have the rights to the same cultural exchange program. We played in their chapel in the prison to like 30 inmates who were between 18 and 60 years old. We had no idea what to expect, but it was really interesting. It was a really special experience.”

Intimate performances have been the group’s preferred gig of choice since they spent their formative years kicking around Stavanger, cutting their teeth as Slutface (before social media censorship prompted a slight name change). An obsession with classic high school movies meant it was a natural step for the band to smash out sets at parties whenever possible, and they came to love the tight confines of Norwegian living rooms.

But regardless where in the world they play, Shea is just happy if they reach like-minded people, bring them together and – most importantly – entertain them.

“Obviously it’s really fun to play big stages with, you know, thousands of people, but we still enjoy a really sweaty atmosphere, whether it’s at a tent at a festival or club, just because you’re closer to people and you can feel their energy levels.

“But then we did Sløtface karaoke,” she laughs, “as the closing slot at this big Norwegian festival where we were the band and the audience members came up and sang. We had like five or six people up onstage at all times and that felt like it was a giant house party – one with like 2,000 people.”

She pauses for a moment; reflects. “When we go to a show, we want to be entertained, have a really good time and make friends with other fans, so we hope that that’s what people get out of listening to our band and coming to our shows. We are kind of being inspired by each other, and by all of the cool things that young people all over the world are doing to make the world a better place.”

This month Shea, along with guitarist Tor-Arne Vikingstad, bassist Lasse Lokøy and drummer Halvard Skeie Wiencke, get to broaden their reach even further as they head to all corners of the globe, playing their first shows on our soil just before the release of their debut album Try Not To Freak Out.

The anticipation is high on both sides. “We’re really excited. It’s also the farthest away from home we’ve ever played; it’s like the exact opposite of the world from where we live.”

When it comes to their live show set-up, Shea and her bandmates embrace their punk sensibilities, and they like to use gigs as a chance to let loose. “We’ve always tried to lean as close towards a punk live show and a punk aesthetic as we can,” she says.

“People use their stage personas for different things, but they also provide a chance to release a lot of anger and frustration. That’s kind of what I use those stage performances for: to be like the gassiest, angriest version of myself; the person that I can’t really be in real life because I want people to like me too much. Onstage it doesn’t really matter if you piss a few people off.”

Try Not To Freak Out is a pure, undiluted expression of the band’s intentions, an album that melds the Scandinavian hard rock and metal scene’s trademark energy and intensity with the pop sensibility Sweden has been championing over the last few decades.

With each member bringing demos to jamming sessions, the group built the record from cherry-picked parts, trying a swathe of different directions before Shea began carving out the lyrics. Indeed, it’s their differing musical tastes that she attributes to the idiosyncrasies on the record, although at the end of the day, Freak Out takes the nostalgic, familiar hum of American high school movies and makes it the band’s own.

That’s not even to mention the lyrics, which seem more nuanced and referential than those that carried Empire Records, their 2016 EP. Lead single and feminist pop opener ‘Magazine’ makes clear Shea’s intentions as a songwriter from the very outset.

“Patti Smith would never put up with this shit,” she snarls, the song going on to challenge the patriarchy while both addressing and rubbishing societal pressures. There is a reason, after all, Shea has been called the heir apparent to musicians like Kathleen Hanna and PIL-era Johnny Rotten.


There are times when the record slows – when Shea takes the time to address her intense, often anxious thought patterns, as on mid-record stand out ‘Night Guilt’.

Part of the reason that Shea can talk about anxiety so honestly is that she still finds herself hounded by it. Some might think that success and acclaim have a calming effect on shattered nerves, but often the opposite is the case, and Shea still has to fight hard to conquer her negative thought spirals.

“Some days it’s really, really tough,” she says. “When you work really hard on something, you want it to be the best that it can be, and you get that sort of fear about not quite meeting expectations that you have for yourself.

“So there were days when I was really struggling with anxiety and then had to sing a song about anxiety. That was a little bit tough.”

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Robert Plant releases Carry Fire, his 11th solo album on Nonesuch Records. The self-produced album is Plant’s first since since 2014’s lullaby and…The Ceaseless Roar. As with that record, Robert is accompanied here by The Sensational Space Shifters, along with some guests, such as Chrissie Hynde and Seth Lakeman.

Robert Plant’s “Bones of Saints” from his 2017 album, Carry Fire, released 13th October.

Stream Jackie Greene’s New EP, 'The Modern Lives Vol. 1'

Today we’re excited to bring you the premiere of Jackie Greene’s new EP, The Modern Lives Vol. 1. The EP—which releases tomorrow via Blue Rose Music—was self-recorded and produced by Greene in Brooklyn.

On The Modern Lives Vol. 1, Greene draws inspiration from some of the great social paradoxes of our 21st-century world—that the technology designed to simplify our lives can actually complicate them in ways we’d never imagined, that the most crowded cities can actually be the loneliest places to live, and that the constructs meant to connect us to each other can actually leave us feeling more isolated than ever.

Since the release of his critically acclaimed debut album Gone Wanderin’, Greene has built an endearing audience through a relentless touring schedule with the likes of B.B. King, Mark Knopfler, Susan Tedeschi and Taj Mahal.

In just the last four years, he has played lead guitar with the Black Crowes on their Layin’ Down with #13 World Tour, recorded and toured with Trigger Hippy his supergroup with Joan Osborne—and performed more than 250 shows of his own, all while continuing to record and release his solo work. Greene is a frequent member of Phil Lesh & Friends and sits in with countless other artists, including Tedeschi Trucks Band, Gov’t Mule, Mississippi All-Stars, Amy Helm, Steve Earle and Bob Weir.

Check out the premiere of The Modern Lives Vol. 1 

The Shivas are a rock and roll band from Portland, Oregon formed in 2006. In the 10 years since forming they have brought their raucous dance party to almost all 50 states, and over 25 countries worldwide, meanwhile releasing five full-length albums and three EPs on labels such as K Records and Burger Records. With the release of their latest – TURN ME ON (out May 12, 2017 on Burger Records/Annibale Records) they set out on spring/summer tours across North America and Europe, spending a few weeks at home in their time off to finish working on their 6th LP, set to come out in 2018. Keep an eye out for an upcoming Shivas show in your town. 


Band Members
Jared Molyneux
Eric Shanafelt
Kristin Leonard