Archive for the ‘CLASSIC ALBUMS’ Category

Joni Mitchell – the artist, songwriter, and singer who has created some of the most influential music of all time – has a reputation for not looking back. Despite her considerable legacy and personal archive full of treasures, it wasn’t until recently that she began began really celebrating her past. Films, tribute concerts, and a recent book of art and lyrics have done their part to reaffirm her influence and artistry in the public consciousness, but now Joni Mitchell has approved something long thought unthinkable; something that will surely leave diehard fans’ jaws on the floor: a series of box sets and archival albums that shows the arc of her artistry, to be released over the next several years. Rhino promises that Joni “has been intimately involved in producing the archive series, lending her vision and personal touch to every element of the project.”

The Five-CD box set kicks off the long awaited ‘Archives’ series

Joni Mitchell opens her vaults for the first time for the Joni Mitchell Archives, a new series of box set releases that will span the next few years and start Next Month with a five-disc box set, “Archives – Volume 1″ and two associated vinyl releases.

Mitchell has been “intimately involved in producing the archive series” and Archives Volume 1: The Early Years (1963-1967) features nearly six hours of unreleased home, live, and radio recordings that flow chronologically to map Joni’s rapid growth as a performer and songwriter during the period leading up to her debut album.

The collection begins in 1963 with her earliest-known recording as a 19-year-old Mitchell performs at CFQC AM, a radio station in her hometown of Saskatoon, Saskatchewan. The box culminates with a stirring, three-set 1967 nightclub performance recorded at the Canterbury House in Ann Arbor, Michigan. In total, the five-CD box includes 29 original Mitchell compositions that have never been released before with her vocals.

Volume 1: The Early Years (1963-1967) is a five-CD box set 

As you can probably guess, it focuses on the period prior to the release of her 1968 debut album, Song To a Seagull. The staggering 119-track, 5CD box set is a treasure trove of unreleased rarities from her archive, including significant upgrades to certain dubiously sourced radio material – all finally made canon some 50 years on. You’ll hear her perform Child ballads and Guthrie covers in the folk club setting, work out early versions of classics like “Both Sides Now,” “Chelsea Morning,” and “He Comes For Conversation” – the latter with interesting lyric variants – years before their official versions. And you’ll hear 29 previously unheard songs, among them “Jeremy,” “Free Darling,” and “Gemini Twin,” which had been slated for Seagull, plus other early favourites like “Urge For Going,” and “Eastern Rain.” And for the guitarists and banter-lovers, you’ll hear her tune up to those mystifying alternate tunings and tell stories about her songs as she puts them to tape. It totals nearly 6 hours of incredible material, an in-depth testament to the undeniable talent of an artist finding her way, building an impressive oeuvre of original material, and wooing crowds with her stunning music and lyrics.

The box set includes a 40-page booklet that features many unseen photos from Mitchell’s personal collection as well as new liner notes featuring conversations between Cameron Crowe and Mitchell, who recently spent a couple of Sunday afternoons together discussing her archives. Crowe will continue to provide liners for future releases in the series.

Looking back, Mitchell reflects on her early label of “folk singer”: “The early stuff, I shouldn’t be such a snob against it. A lot of these songs, I just lost them. They fell away. They only exist in these recordings. For so long I rebelled against the term, ‘I was never a folk-singer.’ I would get pissed off if they put that label on me. I didn’t think it was a good description of what I was. And then I listened and…it was beautiful. It made me forgive my beginnings. And I had this realisation…I was a folk singer!”

CDs four and five of the box set feature Mitchell’s previously unreleased, entire three- set performance at Canterbury House in 1967. Those three sets are also issued as a special 3LP vinyl package: Live at Canterbury House – 1967.

To complete the physical archive releases, a single 180g vinyl, Early Joni – 1963 features the nine-song CFQC AM performance in her hometown of Saskatoon, Saskatchewan. Here, the 19-year-old Mitchell performs at her hometown. The next year, she’s working through two sets of folk music in a Yorkville, Toronto folk club and preserving a clutch of favourites on tape at her parents’ house. Just months later, Joni begins writing her own original material, and lays down some early compositions from her apartment in Detroit for her mother Myrtle’s birthday – “Urge For Going,” “Born To Take The Highway,” and “Here Today and Gone Tomorrow.” By August 1965, she’s preparing a demo tape for Jac Holzman of Elektra Records with “Day After Day” – considered her first composition – the unheard tracks “Student Song” and “What Will You Give Me,” plus a cover of “Let It Be Me”! That’s before we get to the wealth of CBC TV recordings, radio sessions from Philadelphia, intimate home tapes of some of her best early work, and recently unearthed tapes from three sets at Canterbury House, Ann Arbor, in October 1967.

This is featured on CD 1 of the box set. The enclosed 40-page booklet features unseen photographs from Mitchell’s personal archives and new liner notes by Cameron Crowe, who will pen the notes for future volumes. The liner notes are drawn from new conversations with Joni Mitchell where she discusses her beginnings as a folk singer, her transition into song writing, and her ascent as an artist.

As an added bonus for collectors, the new Official Joni Mitchell Online Store will offer two additional vinyl variants: a clear vinyl edition of Early Joni – 1963 and a white vinyl configuration of Live At Canterbury House – 1967. Each exclusive colour vinyl configuration will be limited to 1,500 units. No matter your choice of format, if you order from the official store you’ll also get an exclusive 7″x7″ lithograph featuring two images of Joni Mitchell.

The five-CD box set, the 3LP Canterbury package and Early Joni will all be released on 30 October 2020.

Delta Spirit? more like belter spirit! every single one of these anthemic americana pop sizzlers has been kissed under the Californian sun and – fortunately for us – imported into England.

As much as it reflects their journey thus far, it also ushers them into new territory as both musicians and, most importantly, friends. in the end, Delta Spirit not only return but move forward together on ‘what is there’. “the album has a Side A and Side B feel to it with the first half comprised of layered, dense tunes as is mixer Blake’s penchant. ” – glide magazine.

“…it’s tempting to frame What Is There, their first record in six years, as a comeback. There are several moments that make the case. Opener “The Pressure” is a spirited, up-tempo track guided by a screeching guitar and a sing-along chorus. “It Ain’t Easy” recalls the soul of their earliest work and makes good use of the band’s biggest strength, frontman Matthew Logan Vasquez’s passionate voice. “Home Again” feels like the best example of what Delta Spirit could have been, beginning with their characteristic sound before gradually deconstructing it in a mind-bending solo designed for headphones.”

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Releases September 11th, 2020

Delta Spirit is:
Matthew Logan Vasquez
Kelly Winrich,
Will McLaren,
Jonathan Jameson,
Brandon Young,

All songs written, arranged and performed by Matthew Logan Vasquez, Jonathan Jameson, Kelly Winrich, Brandon Young, and Will McLaren

Hannah Georgas has a seemingly endless capacity for crafting textured pop songs. Since her debut, the Toronto-based musician has won numerous awards and racked up multiple nominations, including four JUNO nods, for everything from Best New Artist to Songwriter of the Year.

Masterfully produced by the National’s Aaron Dessner, this has all the hallmarks of a breakthrough album, as melding electronics and acoustics frolic about Hannah’s spellbinding vocals.

The eagerly anticipated follow-up production to the work that Dessner did on Taylor Swift’s ‘Folklore’, ‘all that emotion’ comprises deeply personal songs reckoning with the past, set in a warm, enveloping sound world with lyrical themes of change and resilience. for fans of Eve Owen, Feist, Phoebe Bridgers, Daughter and the National. “… sparse, staggering… [Aaron Dessner’s] immersive production, including layered keyboards and twinkling harmonics, pairs perfectly with her elegant voice” – uncut.

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we’re equally enamoured with Hannah Georgas’ soon-to-be-breakthrough fourth album. with studio controls helmed by the National’s Aaron Dessner, who recently gave Taylor Swift’s latest album an extra shot of pizzazz, delicate acoustic instrumentation nuzzles up to magical electronics as they bear witness to Hannah’s emotionally charged vocal performance.

Released September 4th, 2020

Experience Hendrix and Legacy Recordings have announced a brand-new collection that celebrates The Jimi Hendrix Experience’s near-mythic performances on Maui, Hawaii in 1970. Live In Maui brings together audio and video with a new feature-length documentary called Music, Money, Madness: Jimi Hendrix In Maui. The collection will be available in 2-CD/Blu-ray and 3-LP/Blu-ray configurations, all due on November 20th.

Hendrix’s performances on Maui in 1970 caught him at another pivotal point in his too-short career. Following the success of Electric Ladyland, he alternated between playing arenas and festivals with his revamped Experience alongside bandmates Billy Cox (bass) and Mitch Mitchell (drums), and overseeing the creation of his state-of-the-art Greenwich Village studio, Electric Lady Studios. In need of additional financing to complete building the studio, manager Michael Jeffery convinced Warner Bros. to advance Hendrix $500,000.00. The studio would also finance a film to be shot in Maui: Rainbow Bridge. Warner would then receive the soundtrack rights to the exclusive Hendrix music in the movie.

The impressionistic film, directed by Chuck Wein, would explore themes of enlightenment, with the titular rainbow bridge connecting the enlightened and unenlightened worlds. It wasn’t much of a concert movie, though, as only 17 minutes of footage were included from the free show Hendrix held on a Maui cattle ranch on July 30th, 1970 (one day before a Honolulu arena performance). Even those weren’t “pure” as Mitch Mitchell had to re-record his parts at the recently-opened Electric Lady to make the footage useable. Sadly, Jimi Hendrix was gone before the film was ever completed. He died in London on September 18th, 1970. Upon the film’s release in 1971, fans were confused by it as well as the meticulously overdubbed soundtrack album which premiered Hendrix studio material but didn’t actually include any music from the film or the two Maui sets.

Director John McDermott’s new documentary film chronicles the Jimi Hendrix Experience’s visit to Maui and the story of the film by incorporating period footage with new interviews with Chuck Wein, Billy Cox, Eddie Kramer, and others key figures. It’s presented in both editions of Experience Hendrix/Legacy’s release on Blu-ray, and the discs will also feature all of the existing 16mm colour footage from the two afternoon sets captured on July 30th, 1970 mixed in stereo and 5.1 surround.

The accompanying 2-CD set features Hendrix, Billy Cox, and Mitch Mitchell’s restored Maui sets, newly mixed by Eddie Kramer and mastered by Bernie Grundman. “Voodoo Child (Slight Return)” has been released as a preview single for the box. “Jimi loved adventure and there was certainly no shortage of it during his time in Hawaii, a place he also loved,” comments Janie Hendrix in the press release. “The back story of Rainbow Bridge and these recordings paint a picture of Jimi’s uncanny ability to turn the bizarre into something amazing! We’re excited about this release because it gives the world a closer look at Jimi’s genius.”

“Live in Maui” due on November 20th.

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U2 will celebrate the 20th anniversary of All That You Can’t Leave Behind on October 20th with the release of a super deluxe edition of the album. It will be available both as single disc remaster of the original LP and a 51-track Super Deluxe box set packed with B-sides, outtakes, remixes and a complete show taped at a Boston stop on the 2001 Elevation tour.

All That You Can’t Leave Behind brought U2 back to the center of the music universe after their 1997 LP Pop underwhelmed at record stores. (They faced large sections of empty seats during some shows on the American leg of the PopMart tour.) It was the album that put the band back on the charts and heralded something of a return to form after some experimental excursions in the mid-to-late ’90s. The Daniel Lanois and Brian Eno-produced album won seven Grammy Awards including Best Rock Album, Song of the Year (“Beautiful Day”) and, for the only time in history, two consecutive Record of the Year nods (“Beautiful Day” in 2001 and “Walk On” in 2002). “Beautiful, Day,” “Elevation,” “Stuck in a Moment That You Can’t Get Out Of” and “Walk On” all became sizable worldwide hits, all reaching the Top 5 in the U.K. (with the first three going straight to No. 1 in their native Ireland), and All That You Can’t Leave Behind remains one of their biggest-selling albums.

Hit singles like “Beautiful Day,” “Stuck in a Moment You Can’t Get Out Of” and “Elevation” helped All That You Can’t Leave Behind sell by the millions and rack up seven Grammy Awards, including Song of the Year and Record of the Year. “This is our night,” Bono said at the ceremony. “It is a very unusual emotion I am feeling. I think it is called humility.”

The Super Deluxe edition of the album will come with a 32-page hardback book, previously unseen photos by Anton Corbijn, B-sides like “Summer Rain” and “Always,” 11 remixes, 19 songs taped at their 2001 Boston concert and outtakes from the sessions, including “Levitate,” “Love You Like Mad” and “Flower Child” along with “Stateless” from the soundtrack to the Million Dollar Hotel. There’s also an acoustic version of “Stuck in a Moment You Can’t Get Out Of,” which they’re promoting with a new lyric video.

U2 wrapped up the international leg of their Joshua Tree tour on December 19th, 2019 with a show at DY Patil Stadium in Mumbai, India. Since then, they have focused a lot of their energy on the new SiriusXM station U2 X-Radio. They are also working on their followup to 2018’s Songs of Experience.

The set also includes a disc of B-sides and session material, and a further disc of hard-to-find or unreleased remixes. Among these bonus tracks are “Levitate,” Flower Child,” and “Love You Like Mad,” three tracks that make their wide-release physical media debut here. Prior to this set, they were only available on an iTunes-exclusive bonus album or a fan club-only CD pressing of that collections. The new 20th Anniversary box set will also feature the soundtrack stray cut “Stateless,” and a wealth of non-album tracks, including the Johnny Cash cover “Don’t Take Your Guns To Town.”

The 11-LP super deluxe set contains all the material from the 5-CD, presented in eight sleeves: one for the remastered album, another for the B-Sides and Demos disc, and a further one for the 19-track Boston set. The remixes will be spread across 5 discs, each in its own sleeve.

“We did some recording last year that got us some really great starting points and complete songs,” bassist Adam Clayton told Rolling Stone in July. “There’s an album ready to go, we’re just not quite sure when we want to press that button. When I say ready to go, I mean ready to be completed. Let’s put it that way.”

As we’ve come to expect from U2, the design of the box promises to be impressive.

Almost nothing is known about Bruce Springsteen’s follow up to 2019’s Western Stars, including any timeframe for its release, but he’s indicated that it’s a collection of rock songs recorded with the E Street Band. Last year, he told Martin Scorsese that the songs came to him after a long period where he found himself unable to write for a rock band. “It just came out of almost nowhere,” he said. “And it was good. I had about two weeks of those little daily visitations [of songs], and it was so nice. It makes you so happy. You go, ‘Fuck, I’m not fucked, all right?’”

Bruce Springsteen will release Letter to You, a new rock album recorded live in his New Jersey home studio with the members of the E Street Band, The title track is also the first single and is available now.

“I love the emotional nature of Letter To You,” he said in a statement. “And I love the sound of the E Street Band playing completely live in the studio, in a way we’ve never done before, and with no overdubs. We made the album in only five days, and it turned out to be one of the greatest recording experiences I’ve ever had.”

In addition to nine new songs, the album also includes fresh recordings of three songs that predate Springsteen’s 1973 debut album, Greetings From Asbury Park, N.J.: “Janey Needs A Shooter,” “If I Was the Priest” and “Song for Orphans.” Assuming Springsteen keeps the lyrics from the early bootlegged versions, “If I Was the Priest” (covered by Hollies singer Allan Clarke in the Seventies) is a sacrilegious fantasy (“If Jesus was the sheriff and I was the priest/If my lady was an heiress and my mama was a thief”), while “Song for Orphans” is a Dylan-esque tale of “aimless quest-less renegade brats who live their lives in songs,” and “Janey” is a slightly twisted love song.

Springsteen wrote at least some of Letters to You last spring, judging from comments he made in a public conversation with Martin Scorsese last year.  “I couldn’t write anything for the band,” he said. “And I said, ‘Well, of course … you’ll never be able to do that again!’ And it’s a trick every time you do it, you know? But it’s a trick that, because of that fact that you can’t explain, cannot be self-consciously duplicated. It has to come to you in inspiration. And then about a month or so ago, I wrote almost an album’s worth of material for the band. And it came out of just… I mean, I know where it came from, but at the same time, it just came out of almost nowhere. And it was good, you know. I had about two weeks of those little daily visitations, and it was so nice. It makes you so happy.

Release date: on October 23rd

bruce springsteen letter to you album cover

Their new record, “And Now For The Whatchamacallit”, is sitting at the very top of the Australian vinyl charts, and for good reason. They scratch an itch in Aussie music that strikes a rare balance between immediacy and complexity the sheer momentum of their riff-based psych-rock nearly outruns its own anxious underbelly.

Since the advent of language, all things have needed to be called something—especially rock bands. To break out of the psych-rock hotbed of Perth, Australia, a truly absurd moniker was chosen: Psychedelic Porn Crumpets. What does it mean? We have no idea and neither do the fellas in the band. However, like their music, it’s undeniably memorable. Hailing from the same pub and club scene that spawned psych-pop superstars Tame Impala and cult favourites Pond, the Crumpets’ brand of psychedelic rock is decidedly more over-the-top than the fare their compatriots put out. The Crumpets make brash, exuberant music that takes the intrigue and textures of classic psych and injects it with an unhinged, restless energy that feels like peaking on LSD while riding a rollercoaster.

At the core of the Crumpets’ sonic universe is an unabashed love of cartoonishly large and colourful guitars. With their third LP, And Now for the Whatchamacallit, Psychedelic Porn Crumpets have created a loose concept album which applies the aesthetic of a 1930s carnival to the turbulent circus that is touring life for a young band. Tracked chiefly in frontman/principal songwriter/guitarist Jack McEwan’s bedroom studio (with some overdubs done at Perth’s Tone City Studios), And Now for the Whatchamacallit is indeed a guitar carnival that revels in dazzling multi-layered harmonies, chunky, fuzz-laden riffing, and delicate ambient passages that’ve been tweaked, warped, or pitch-shifted in interesting ways. Finished with a dash of ’70s glam pomp and a hearty dose of indie-pop melody, the album ticks a lot of hallowed guitar-rock boxes while forging unique territory.

And yet, lead singer Jack McEwan is anything but world-weary. Gleefully sipping a schooner on a Monday morning with the rest of his exhausted band behind him, he seems as stoked as a man could be. With occasional interjections from bright-eyed keyboard player Chris Young, we chat about escapism, how Perth shaped their music, and the way song writing fills the void.

Beyond being a compelling listen, the Crumpets’ latest release is a fine example of how good a guitar-focused album can be without access to expensive gear, or much reliance on tube amps or even high-end modelling rigs. The Crumpets’ musical identity is a by product of Perth’s isolation, where bands are decidedly less overwhelmed by an influx of outside art and additionally forced to use whatever tools they have at their disposal in a place where American-made and/or vintage gear is difficult to come by.

A big fan of the “work with what you’ve got” philosophy, McEwan tracked almost all of his guitar parts in Ableton through DI and employed clever production techniques (like eschewing amp sims altogether for an extremely hot compressor) to get his guitar sounds, which are rarely sterile, despite often sounding like anything but a guitar. While McEwan’s guitars live almost exclusively in the digital realm, lead guitarist Luke Parish is a fan of vintage gear and has hunted down and imported some gems, including a ’60s Sears Silvertone amp and a ’68 Fender Deluxe Reverb, which he used to add organic warmth to McEwan’s digital guitar pastiche. The pair complement each other exceptionally well as guitarists despite having vastly different backgrounds as musicians: McEwan is a converted bass player and Parish came up playing in jazz bands and then followed the typical blues-rock heroes of yesteryear.

With McEwan and Parish riding in the back of a tour van, traversing a Welsh highway. The duo discussed the band’s writing process, unique home-recording techniques, the travails of sourcing decent gear in an isolated locale, and what makes Australia such a fertile place for rock ’n’ roll.

They are certainly channelling some of King Gizzard magic . With its slashing garage rock riff and driving bassline, it starts out like something out of the Gizz’s Nonagon Infinity, particularly with its hushed vocals. This docks it a few points for originality. However, the song’s distinguishes itself a more melodic cerebral second half.

This Is The Kit is the musical project of Kate Stables and whoever joins her. You thought you didn’t like the banjo but you were wrong pal. Listen as Kate rips forward with her hypnotic twang pattern and a voice of rare, unaffected beauty. Since 2008’s debut album Krülle Bol, This Is The Kit (lead by Kate Stables) have unpicked emotional knots and woven remarkable stories, but even by their high standards, “Off Off On” is a beautifully clear distillation of Stables’ song-writing gifts.

By the end of 2018, the band had finished touring their last album, the talismanic Moonshine Freeze – leading to Kate’s Ivor Novello nomination, but when it came to Stables’ natural impulse to start the next record, her efforts were diverted by an invitation to join The National on the road for multiple tours and TV appearances – a continuation of the role she took on their album I Am Easy To Find. “It was so brilliant when I was writing to be away from my songs and the responsibility of being in charge of a band or a project – I think it really helped my writing and my getting through whatever I needed to get through.”

Richly illuminating and acutely sensitive to the pulses and currents of life, Off Off On shows This Is The Kit overflowing with ideas. In difficult times, it’s a record that feels like a lifeline, moving against the tide, standing against the storm.

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From the forthcoming album ‘Off Off On’ which will be released by Rough Trade Records on October 23rd.10.2020. This is the fifth album by the band and is the follow up to 2017 critically acclaimed album ‘Moonshine Freeze’. The album will be available on LP / CD / MP3.
Released September 10th, 2020
Rough Trade Records Ltd

 

No photo description available.

Enigmatic Kiwi songwriter Jonathan Bree is enjoying the support of an international audience as a solo artist, following his time as a leader of New Zealand indie pop band The Brunettes. A true maverick behind a mask, his dedication to anonymity combined with his distinct monotone style marks him out as a true innovator. The phrase “a mystery wrapped in an enigma” comes to mind when considering both the music and visage of New Zealand-based performer, Jonathan Bree. The songwriter and front man, who rose to popularity with the 2017 track, “You’re So Cool” which features Bree in a very blank, very interesting mask-costume, twists a hole in your psyche and won’t leave. His songs are like coffee in the morning with a touch of both sugar and cream. They’re smooth and warm with a kiss of the bittersweet. In the end, though, Bree’s songs energize in their own inimitable manner. We caught up with the musician, who released his latest record, “After the Curtains Close”, in July, to talk about when he first donned the mask that has become so permanent a part of his aesthetic, how he first fell in love with music, how he landed on his baritone croon and much more.

“I like that the mask means people can make their own connection. There’s an element of personal projection—people can see or feel what they want to.”

Following on from the huge popularity of debut album ‘The Primrose Path’, Bree’s fanbase has continued to swell with successive titles ‘A Little Night Music’ and ‘Sleepwalking’. This year, he returns with his finest record yet; ‘After The Curtains Close’ which is his own unique take on a breakup record.

Bree first embarked on his solo career with the release of debut album ‘The Primrose Path’ in 2013. Combining post-modern irony with a retro 60’s style, his signature sound was accompanied with a striking live image employing the use of an amorphous spandex mask obscuring his face but drawing greater attention to the music.

Huge success came in 2017 with the release of hit single ‘You’re So Cool’ which has amassed over 13 million views on YouTube alone!

It’s been two years since his last LP, but now Bree is back with one of the year’s most intriguing albums – ‘After The Curtains Close’. Featuring the singles ‘Heavenly Vision’, ‘In The Sunshine’ and ‘Kiss My Lips’ which sees him team up with Princess Chelsea; ‘After The Curtains Close’ is already regarded as the essential record of 2020.

Jonathan Bree will be heading to the UK in Spring next year to promote his latest LP ‘After The Curtains Close’ with dates in May.

Tickets are on sale with Gigantic and already selling fast!

Upheaval and change are themes spread throughout the songs on “Printer’s Devil”, the latest Ratboys LP, released February 28th, 2020 via Topshelf Records. But all the while, singer-songwriter Julia Steiner embraces moments of uncertainty as a necessary part of growing. Steiner recalls a David Byrne lyric, “I’m lost, but I’m not afraid” as inspiration for the transformative outlook, considering the line a personal mantra while writing Ratboys’ third full-length record. “There’s definitely a lot of uncertainty about what’s next, but I like to think that, in the midst of creating a lot of vulnerability for ourselves, we’re confident and becoming more self-assured.” Steiner wrote the record with guitarist Dave Sagan while she was experiencing a dramatic shift in her own foundations, demoing out songs in her Louisville, Kentucky childhood home, which had just been sold and emptied out. “Demoing there was almost too intense,” Steiner says. “I kept writing in my journal that it feels like we shouldn’t be there. I don’t know if that feeling made its way directly into the lyrics, but to me the songs will always be connected to that sense of home and time passing.” With years of touring under their belts, Steiner and Sagan have welcomed a newly consistent four-piece line up, after years of shuffling through drummers.

The band’s comfortable core — which sees Steiner and Sagan backed by drummer Marcus Nuccio and bassist Sean Neumann — is tangible across Printer’s Devil. What started as an acoustic duo has finally transformed into a full-scale indie-rock band with a clear identity. The rhythm section brings the band not only consistency, but a jolt in line with Steiner and Sagan’s growing sonic aspirations: Printer’s Devil was recorded live at Decade Music Studios in Chicago and was produced by the band and engineer Erik Rasmussen. Big-chorus power pop songs like “Alien with a Sleep Mask On” and “Anj” sound massive and larger than life, while the band’s dynamics beautifully thread together intimate folk songs like “A Vision” and devastating alt-country tracks like “Listening,” showcasing a rare range that invites listeners to imagine the band blowing out a 2,000-cap room or playing quietly next to you in the living room.

Building off their previous albums—AOID (2015) and GN (2017), which feature bright, youthful Americana narratives centered around soft vocal cadences and fluid, melodic lead guitars—Ratboys captures the bombastic, electrified fun of their live show in a bottle on Printer’s Devil and showcases their growing chemistry as a tight-knit group. Through all the change that fueled the record, Ratboys’ latest album Printer’s Devil finds a band that’s truly grown into itself and is just getting started.

Recorded on Wednesday, July 1st in Chicago, IL.