Home-recorded DIY punk rock does not have to sound like aural dogshit. Case in point: Katie Crutchfield and a couple of friends rented a house in Long Island, played around with the acoustics in different rooms, and knocked out a handful of songs about longing and frustration. They walked away with a huge, gleaming song-cycle, a towering heap of melodies and feelings. And if they can make something they did on their own sound this amazing,
Waxahatchee, the solo musical project of Katie Crutchfield, is named after a creek not far from her childhood home in Alabama and seems to represent both where she came from and where she’s going. Ivy Tripp drifts confidently from its predecessors and brings forth a more informed and powerful recognition of where Crutchfield has currently found herself. The lament and grieving for her youth seem to have been replaced with control and sheer self-honesty. “My life has changed a lot in the last two years, and it’s been hard for me to process my feelings other than by writing songs,” says Crutchfield. “I think a running theme [of Ivy Tripp] is steadying yourself on shaky ground and reminding yourself that you have control in situations that seem overwhelming, or just being cognizant in moments of deep confusion or sadness, and learning to really feel emotions and to grow from that.”
Over the years, Katie Crutchfield has proven herself a master of the form: ’90s-inflected, nasally, home-recorded punk. Ivy Tripp is yet another subtle but meaningful step forward from what she’s been doing in various iterations for a decade now. It’s the perfect fall record: the crunch of leaves, the crisp morning air can be felt in every note. It’s the sound of stumbling and brushing the dirt off, feeling like shit, not knowing where to go or what to do next. It’s a record for wanderers, for those of us who are unable to or refuse to settle down
Recorded and engineered by Kyle Gilbride of Wherever Audio at Crutchfield’s home on New York’s Long Island—with drums recorded in the gym of a local elementary school—Ivy Tripp presents a more developed and aged version of Waxahatchee. “The title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents. I have thought of it like this: [Waxahatchee’s last album] Cerulean Salt is a solid and Ivy Tripp is a gas.”
Tennessee-born singer/songwriter Valerie June “takes the dreamer’s path” on her first new album since 2017’s The Order of Time, expanding the scope of her already-nuanced folk/soul stylings to incorporate elements of funk, pop and psychedelia—adding a touch of the cosmic to her Americana. June, who co-produced her new record alongside Jack Splash (Kendrick Lamar, Alicia Keys, John Legend), wastes no time in setting its tone, opening with three-song suite “Stay” / “Meditation” / “You and I,” and drawing inspiration elsewhere from the likes of Afrobeat giant Fela Kuti and David Bowie collaborator Tony Visconti. “With this record, it finally became clear why I have this dream of making music.
When singer Valerie June began work on her new album, she knew she wanted to recapture the magical thinking of her youth, reflecting on the mysteries of the universe and the ties that bind us with childlike wonder. The result is a beautifully enchanting collection of songs called The Moon and Stars: Prescriptions For Dreamers. Listen to the songs “You And I” and “Starlight Ethereal Silence” from the record and talk about the inspired ways Valerie June weaves together folk, soul and cosmic psychedelia on this spiritual and sonic journey.
Immediately uplifting & spiritually revitalising, June’s sun-dappled folk-soul melodies open up an ocean of positivity and possibility in a year prefaced with introversion and despondency.
Conjuring a next-generation fusion of folk, soul, gospel, country and transcendental blues, the moon and stars, prescriptions for dreamers, Valerie June’s third full-length album for Fantasy Records is a deeply affecting work of genuine beauty and unassuming wonder. produced by jack splash and Valerie June and recorded at fresh young minds in Los Angeles, Ca and hit factory criteria in Miami, Fl., the new album is her first release since 2017’s highly acclaimed the order of time and features 11 songs and three musical interludes, all written by Valerie. fans of Frazey Ford, Michael Kiwanuka, Whitney and Brittany Howard/Alabama Shakes lovers will be delighted with this record.
It’s not for earthly reasons of wanting to be awarded or to win anybody’s love—it’s because dreaming keeps me inquisitive and keeps me on that path of learning what I have to share with the world,” said June in a statement. “When we allow ourselves to dream like we did when we were kids, it ignites the light that we all have within us and helps us to have a sort of magic about the way we live.
From the album “The Moon And Stars: Prescriptions For Dreamers”
“No One Sings Like You Anymore” is Chris Cornell’s handpicked collection of 10 cover songs, which he personally selected and sequenced to celebrate artists and songs that inspired him, including John Lennon’s “Watching The Wheels,” “Get It While You Can,” popularized by Janis Joplin, a new recording of Prince’s “Nothing Compares 2 U,” Ghostland Observatory’s “Sad Sad City,” Harry Nilsson’s “Jump Into The Fire,” Carl Hall’s “You Don’t Know Nothing About Love,” Electric Light Orchestra’s “Showdown,” Terry Reid’s “To Be Treated Rite” and two songs currently available as digital singles, Lorraine Ellison’s “Stay With Me Baby” (originally released for HBO’s show Vinyl) and Chris’s 2020 chart topping hit “Patience” originally recorded by Guns N’ Roses.
Chris Cornell‘s widow Vicky Cornell, and his estate, surprise-released an album of covers, “This album is so special because it is a complete work of art that Chris created from start to finish,” Vicky says about No One Sings Like You. “His choice of covers provides a personal look into his favourite artists and the songs that touched him. He couldn’t wait to release it. This moment is bittersweet because he should be here doing it himself, but it is with both heartache and joy that we share this special album. All of us could use his voice to help heal and lift us this year, especially during the holiday season. I am so proud of him and this stunning record, which to me illustrates why he will always be beloved, honoured, and one the greatest voices of our time.”
“When my dad was making this album, it was so fun – I remember waking up in the morning, having breakfast with him and going with him into the studio,” Cornell’s daughter Toni says. “We would take our piano lessons there, and Christopher would play video games with Brendan and my dad. We got to experience so much with him and have so many amazing memories. I’m really happy to be sharing this album. We love you, daddy,”
“We had so much fun in the studio during this time,” Cornell’s son Christopher says, “and on days off we’d go to Tree People and hike around there. We would also play hide and go seek inside the Beverly Hills Hotel and when security would show up they would think it was so funny that my dad was running through fire escapes with us. For me this album represents who my dad was. I’m really proud of him and his work. I hope you all love this record as much as I do.”
‘No One Sings Like You Anymore’ is a selection of cover versions done by Chris Cornell, this is out 19th March.
Squid are thrilled to announce their debut album , “Bright Green Field”, already one of 2021’s most highly anticipated albums. Bright Green Field, produced by Dan Carey, will be released 7th May. It’s an album of towering scope and ambition, it is deeply considered, paced and intricately constructed. With all band members playing such a vital and equal role, this album is very much the product of five heads operating as one.
Some bands might be tempted to include previous singles on their debut – and the band already released two more in 2020 via ‘Sludge’ and ‘Broadcaster’ – but instead Bright Green Field is completely new. This sense of limitlessness and perpetual forward motion is one of the the key ingredients that makes Squid so loved by fans and critics alike, from BBC Radio 6 Music who have A-Listed previous singles, ‘Houseplants’, ‘The Cleaner’ and ‘Match Bet’ to publications such as, The Guardian, NME, The Face, The Quietus and countless others. The band was also on the longlist for the BBC Music Sound of 2020 poll.
Bright Green Field features field recordings of ringing church bells, tooting bees, microphones swinging from the ceiling orbiting a room of guitar amps, a distorted choir of 30 voices as well as a horn and string ensemble featuring the likes of, Emma-Jean Thackray and Lewis Evans from Black Country, New Road.
Ahead of the release of their forthcoming debut record, Bright Green Field (due May 7th via Warp Records), the Brighton, UK five-piece Squid have returned with another stellar single, a banger called “Paddling.”
While much of the material off Squid’s impending debut album was written in the studio, “Paddling” has been in their live arsenal for a while. The track leads with blaring, sci-fi synths and pulsing drums, quickening in pace; an upbeat staple that meshes the chaotic but controlled post-punk tendencies the group is known for, while introducing a more intricate facet of their technical abilities. Lyrically, it tackles the sort of dystopian horror Bright Green Field centers around, wondering if we’re all just cogs in a massive, inescapable machine. “Patient, in control/Dig holes like a mole/Patient, oars in stow/Just do what you’re told,”
“Written from two different perspectives, ‘Paddling’ is a song about the dichotomy between simple pleasures and decadent consumerism,” say the band. “Recounting a familiar scene from The Wind in the Willows, the song reminds us that although we are humans, we are ultimately animals that are driven by both modern and primal instincts, leading to vanity and machismo around us in the everyday.”
Whilst the album title conjures up imagery of pastoral England, in reality, it’s something of a decoy that captures the band’s fondness for paradox and juxtaposition. Within the geography of Bright Green Field lies monolithic concrete buildings and dystopian visions plucked from imagined cities.
Squid’s music – be it agitated and discordant or groove-locked and flowing – has often been a reflection of the tumultuous world we live in and this continues that to some extent. “This album has created an imaginary cityscape,” says Ollie Judge, who writes the majority of the lyrics and plays drums. “The tracks illustrate the places, events and architecture that exist within it. Previous projects were playful and concerned with characters, whereas this project is darker and more concerned with place – the emotional depth of the music has deepened.”
These themes were further embedded and emphasised, almost serendipitously, as Judge began to read more. “Reading Douglas Coupland’s view that we’re living in the “Extreme Present” as well as Mark Fisher and Merlin Coverley’s writings on Hauntology and the slow cancellation of the future made me realise we’ve been living in a dystopian and futurist landscape for a long time.” However, for all the innovative recording techniques, evolutionary leaps, lyrical themes, ideas and narratives that underpin the album, it’s also a joyous and emphatic record. One, that marries the uncertainties of the world with a curious sense of exploration, as it endlessly twists and turns down unpredictable avenues.
Formed in Brighton, Squid is the brainchild of Louis Borlase (Guitars & Vocals), Ollie Judge (Drums & Lead Vocals), Arthur Leadbetter (Keyboards, Strings, Percussion), Laurie Nankivell (Bass & Brass) and Anton Pearson (Guitars & Vocals).
Hailing from Olympia, Washington, Sleater-Kinney are pioneers in the riot grrrl movement. At its core, “Dig Me Out” is an album leading listeners through vigorous emotional strains — and the tension implodes on nearly every track. The record was released just barely a year after the bomb-hitting Call the Doctor, but the trio somehow managed to upstage themselves with “Dig Me Out”. This is the record where they first teamed up with Janet Weiss, and the change only did amazing things for them.
This album shows a sense of confidence. Sleater-Kinney were still an underground band when this record came out; Call the Doctor was a critical hit, but still wasn’t smashing numbers, and the band had shifted from a tiny indie label to a less tiny indie label. Dig Me Out is an album that will always push first into people’s minds when they think of the band, because it’s the record where everything first clicked for them — the record that marked their territory as a defining rock band in American history.
“Dig Me Out” was the third studio album by the American rock band Sleater-Kinney, released on April 8, 1997, by Kill Rock Stars. The album was produced by John Goodmanson and recorded from December 1996 to January 1997 at John and Stu’s Place in Seattle, Washington. Dig Me Out marked the debut of Janet Weiss, who would become the band’s longest-serving drummer. The music on the record was influenced by traditional rock and roll bands, while the lyrics deal with issues of heartbreak and survival.
The album cover is an homage to The Kinks’ 1965 album “The Kink Kontroversy”. Two singles were released in support of the album: “One More Hour” and “Little Babies”.
Call the Doctor confirmed the band’s reputation as one of the major musical acts from the Pacific Northwest, rebelling against gender roles, consumerism, and indie rock’s male-dominated hierarchy. After the release of Call the Doctor, drummer Janet Weiss of Quasi joined the band. Previously, the band had had a number of temporary drummers, including Misty Farrell, Lora Macfarlane, and Toni Gogin. Weiss would eventually become Sleater-Kinney’s longest serving drummer. For its third album, Sleater-Kinney worked again with producer John Goodmanson.
Both Tucker and Brownstein remarked that Weiss became an essential part of the band’s sound. According to Tucker, “Musically, she’s completed our band. She’s become the bottom end and the solidness that we’ve really wanted for our song writing”. In addition to playing drums, Weiss provides hand claps and tambourine in “Turn It On”. Dig Me Out also contains more guitar and vocal interplay by Tucker and Brownstein than Call the Doctor. As Brownstein explained, “If you were to separate our guitar parts I don’t necessarily think they would fully stand on their own. Our songs aren’t really complete until the other person has put their part over it, and their vocals”. The lyrical themes on Dig Me Out deal with issues of heartbreak and survival.
The band left Chainsaw Records and decided to release the album through Kill Rock Stars, another independent record label which singer and guitarist Corin Tucker thought had better resources to ensure the band’s distribution. Goodmanson also remarked that Kill Rock Stars afforded the band a generous amount of studio time for an independent label, stating that Call the Doctor only took four days to record while Dig Me Out was recorded over the period of eight days.
The song “One More Hour” is about the breakup of Tucker and Brownstein’s romantic relationship.
Dig Me Out also features songs that show frustration with sexism and gender stereotypes. “Little Babies” is a protest against the traditional maternity role, while the title song “Dig Me Out” exposes a woman in a dominant role. The album’s title was inspired by the fact that the band had to literally dig out the recording studio after a heavy snowstorm that took place in Winter 1996 in Seattle. Musically, the song “Words and Guitar” was said to “[leap] and [skit] with the just-released repression of early Talking Heads”, while “Dance Song ’97” was said to “sport Devo-esque keyboards of a distinctly ’80s vintage”
We’re pumped to announce that we’ll be doing an exclusive Fuzz Club Edition of the incoming album from Acid Dad. Titled ‘Take It From The Dead’, our version comes on 180g blue marble transparent vinyl and includes an exclusive 7″ flexi-disc with a live version of ‘Living With A Creature’ recorded at the Greenway Records studio in Queens, NY during the pandemic. Out today, Acid Dad are now sharing the new latest single from the record, ‘BBQ’ – an almost-criminally infectious slice of garage-y, fuzzed-out slacker-pop. You can pre-order the Fuzz Club Edition here.
Acid Dad is an American alternative-rock band composed of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer, Trevor Mustoe. Vaughn first started recording the band in his Bushwick, NY basement releasing singles “Brain Body” and their first EP “Let’s Plan a Robbery.” Appearing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018.
During 2020, the band spent their time building a new studio space in Queens, NY, while continuing to independently produce all their own music, art and even building their own guitars. With a new space and vision, the band produced their second LP, ‘Take It From The Dead,’ set to be co-released in June 2021 by Brooklyn’s Greenway Records and psych powerhouse Levitation’s label, The Reverberation Appreciation Society. Following live / session albums from Dead Meadow, The Black Angels and Acid Mothers Temple, the forthcoming Acid Dad LP is the latest addition to our new partnership with Levitation/RAS – in which we’ll be brining you special, exclusive pressings of the majority of their incoming releases.
‘Take It From The Dead’ features an array of different influences ranging from 90’s neo-psych, modern post-punk and 70’s rock-n-roll. Acid Dad has crafted a record that sounds new, yet feels nostalgic. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic. To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound.
“BBQ” is the second single from the bands new record “Take It From The Dead” out this summer via The Reverberation Appreciation Society and Greenway Records.
Ben Chasny (Six Organs Of Admittance) and Donovan Quinn (Skygreen Leopards) return this week with their long-awaited second New Bums LP, channelling acoustic guitar rock ‘n’ roll in the vein of The Replacements or Johnny Thunders, albeit with a wee bit more of a psychedelic folk approach like their other projects. Released on the ever-reliable Drag City label, this ticks all the right boxes for us.
Seven years and a handful of lifetimes ago, New Bums came out of nowhere with their debut album, “Voices In a Rented Room” – a record the New York Times described as “feeling like it’s falling apart.” New Bums took this as a compliment and, thus emboldened, they toured relentlessly in support of the release: criss-crossing the USA in the spring of 2014, with a European run that summer. Then, silence descended, as the Bums withdrew to the place from which they’d mysteriously emerged.
Now, the New Bums are back. 2021 finds them with a new album in hand. Following a West Coast US tour in late 2019 it’s clear that the duo of Donovan Quinn (Skygreen Leopards) and Ben Chasny (Six Organs of Admittance, Rangda, etc) are fully reanimated, as evidenced by the songs and sounds of “Last Time I Saw Grace”.
Retaining the drunk-dog-locomotion of their debut, New Bums sprinkle a bit of fresh fancy into their signature twin guitars- and-vocals sound, with cleaner recording techniques, further developments in harmonies and a new appreciation for a song with more than two parts, making ‘Last Time I Saw Grace’ nothing less than the perfect progression from the purposefully murky mixes of their debut.
Continuing to embrace an acoustic rock ’n’ roll sound, inspired by artists such as Jacobites, Robyn Hitchcock, Johnny Thunders, Replacements and such, New Bums push the words and the stories to the front of the line, crafting tales with satiric glee on Last Time I Saw Grace. However, this world of empty perfume bottles, bodies tied to masts and moving onward to devastation (after the bottle on the table pulls out a gun) feels much more Gombrowiczian dreamscape than drunken night on the town. Yes, everything is wasted but this is an existential wasteland rather than a substance-laden one. This combination of arch Californian post-aristocratic melodrama with torn and frayed acoustic guitars opens up a new genre entirely, one those at Drag City Records are tempted to call Rent Control Romantic.
Back in slagtion, New Bums, that duo nobody thought to ask for – Six Organs of Admittance’s Ben Chasny and Skygreen Leopards’ Donovan Quinn – are deeper in their nocturnal jungle where all the folly and failure in the world is like an elegant fever dream you want to have every night, and do. Dry humour and pathos pop in a collapsed acoustic vein!
“Tuned to Graffiti” is a track from “Last Time I Saw Grace,” available on March 19th, 2021 on LP from Drag City Records.
English folkie Nick Drake barely created a ripple during his lifetime. He recorded three albums of beautiful acoustic folk, but barely sold a copy during his lifetime. His acoustic music was sophisticated, with flourishes of jazz, and his acoustic guitar finger-picking was beautiful; he used alternative tunings to create tone clusters. Drake studied English literature at Cambridge and enjoyed the poetry of Yeats, Blake, and Vaughan; his lyrics have the same evocative spirit, with images drawn from nature.
Nick Drake passed away in 1974 from an overdose of anti-depressants, leaving a legacy of three studio albums. He didn’t enjoy playing live, and languished in obscurity despite his immense talent. The release of the “Fruit Tree” box set in 1979, shout-outs from famous fans like The Cure’s Robert Smith and R.E.M.’s Peter Buck, and the use of his song ‘Pink Moon’ in a US car commercial all contributed to Nick Drake’s growing stature.
By the 1990s, Nick Drake’s work, overlooked at the time, had been reassessed. Drake’s three albums are now all critically acclaimed.
Each of Nick Drake’s three studio albums provide a different angle on his acoustic folk sound. His 1969 debut, “Five Leaves Left”, is a pretty mood piece, with Drake’s guitar often accompanied by the bass of Danny Thompson (from contemporary folk-rock band Pentangle) and by Robert Kirby’s string arrangements. 1971’s “Bryter Layter” is more detailed – Drake is accompanied by a rhythm section on almost every tune. 1972’s final album, “Pink Moon”, is stark, with Drake performing completely solo – it was recorded quickly in two late night sessions.
Additionally, Time of No Reply and Made to Love Magic are overlapping compilations that mop up Drake’s studio out-takes, most notably the four songs that he recorded in July 1974. It’s worth hearing one of them, but they’re not as essential as his studio records.
All of Nick Drake’s albums require some persistence to enjoy, as Drake’s songs are subtle and nuanced, but the diversity of Bryter Layter makes it the most accessible. The fuller sound also helps; the Fairport Convention rhythm section of Dave Pegg and Dave Mattacks appear, while Fairport guitarist Richard Thompson plays lead guitar on ‘Hazey Jane II’. Robert Kirby reprises his role of orchestral arrangements from Five Leaves Left, although John Cale’s beautiful arrangements on ‘Fly’ and ‘Northern Sky’ are next level.
Choosing a favourite Nick Drake album is purely an academic exercise, as all three are essential, but it’s the magical contributions of the other musicians, particularly John Cale, that elevate Bryter Layter as Nick Drake’s best album.
“One of These Things First” On the gentle and jazzy, Drake is joined by a cast of American musicians – rhythm section Ed Carter and Mike Kowalski were both involved with The Beach Boys, while pianist Paul Harris later joined Stephen Stills in Manassas. The gently meditative song was later featured in the film Garden State.
John Cale, at a loose end after his dismissal from The Velvet Underground, was sent a demo from Drake. Cale was impressed by Drake, particularly his “sensuality”, and added his arrangements to two songs on Bryter Layter. The classically trained Cale is a terrific foil for Drake, adding an exquisite beauty to his songs without drowning them in sentimentality. ‘Fly’ is the more ethereal of Cale’s two arrangements, with his viola colouring Drake’s delicate song.
The other song arranged by Cale, ‘Northern Sky’ is a romantic tale of wistful longing. While the subject of the song has never been confirmed, it was reported to have been inspired by Linda Thompson. Cale augments the song with beautiful work on celeste, piano, and organ. None of Nick Drake’s records were popular upon release, and none charted.
A contemporary review of the compilation Nick Drake in Rolling Stone by Stephen Holden read: “An incredibly slick sound that is highly dependent on production values (credit Joe Boyd) to achieve its effects, its dreamlike quality calls up the very best of the spirit of early Sixties’ jazz-pop ballad. It combines this with the contemporary introspection of British folk rock to evoke a hypnotic spell of opiated languor.”
All three of Nick Drake’s albums areincluded in the original edition of 1001 Albums You Must Hear Before You Die.
Pictish Trail announces new track ‘Slow Memories (BAMBOO Remix)’ from new EP ‘Dream Wall’ coming out 1st April with remixes from the ‘Thumb World’ sessions,
Listen to the new remix here: “I’m a huge fan of the progressive synth-pop music made by Rachael Horwood and Nick Carlisle, aka BAMBOO. On this expansive remix, they stay true to the original’s beatless structure, and concentrate on building of swells of cinematic ambience and atmosphere” Pictish Trail – Johnny Lynch
The OSEES – “Levitation Sessions” live album is being pressed on vinyl . We’re donating all proceeds to independent music venues with the band. Back in September, OSEES performed a blistering set out in the desert at Pappy & Harriet’s, which aired on the LEVITATION Sessions streaming series. OSEES and the label are donating 100% of proceeds to independent music venues. Music venues have been hit particularly hard by the Covid-19 pandemic, with many in danger of closing their doors permanently. Unfortunately some have already.
“During this particularly hard year, it was a pleasure to work with our good friends over at Levitation and Pappy and Harriet’s to reach out to some of our fans, if only for a fleeting hour. This is the proper plastic that came from that evening. We are trying to keep some of our favourite haunts, dives, glorious old venues and bars open through this trial, as it’s obvious the lizards that make up the current administration have no real interest in extending any realistic help to struggling businesses.
Venues have been hit particularly hard by this and without them, there is no us….so this is a small token of appreciation and a grassroots effort to lend a helping hand in their time of need. Take care, be well and keep your eyes on the horizon.” – John Dwyer
The live album is now being pressed on vinyl via The Reverberation Appreciation Society record label. Each edition is limited to 1000 and includes a 7” with the final track from the show, “Block Of Ice” pressed on Desert Sand colored vinyl. These limited vinyl editions will be released March 5th, 2021 and will be available for pre-order on the LEVITATION website at 11am PT, on Friday, Dec 11, 2020:
The NIVA Edition proceeds will be donated to the National Independent Venue Association’s Emergency Relief Fund. The fund has been launched to raise money for the most vulnerable venues, and keep them afloat during these unprecedented times for live music. the second volume from garage-rock heavyweights OSEES and Alex Maas of the Black Angels, performing off the back of his beautiful new solo album,
Special editions for two independent clubs have also been created:
Zebulon Edition – benefitting Zebulon in Los Angeles, California Hotel Vegas Edition – benefitting Hotel Vegas in Austin, Texas
The OSEES – “Levitation Sessions” live album is being pressed on vinyl . We’re donating all proceeds to independent music venues with the band. Back in September, OSEES performed a blistering set out in the desert at Pappy & Harriet’s, which aired on the LEVITATION Sessions streaming series. OSEES and the label are donating 100% of proceeds to independent music venues. Music venues have been hit particularly hard by the Covid-19 pandemic, with many in danger of closing their doors permanently. Unfortunately some have already.
“During this particularly hard year, it was a pleasure to work with our good friends over at Levitation and Pappy and Harriet’s to reach out to some of our fans, if only for a fleeting hour. This is the proper plastic that came from that evening. We are trying to keep some of our favourite haunts, dives, glorious old venues and bars open through this trial, as it’s obvious the lizards that make up the current administration have no real interest in extending any realistic help to struggling businesses.
Venues have been hit particularly hard by this and without them, there is no us….so this is a small token of appreciation and a grassroots effort to lend a helping hand in their time of need. Take care, be well and keep your eyes on the horizon.” – John Dwyer
The live album is now being pressed on vinyl via The Reverberation Appreciation Society record label. Each edition is limited to 1000 and includes a 7” with the final track from the show, “Block Of Ice” pressed on Desert Sand colored vinyl. These limited vinyl editions will be released March 5th, 2021 and will be available for pre-order on the LEVITATION website at 11am PT, on Friday, Dec 11, 2020:
The NIVA Edition proceeds will be donated to the National Independent Venue Association’s Emergency Relief Fund. The fund has been launched to raise money for the most vulnerable venues, and keep them afloat during these unprecedented times for live music. the second volume from garage-rock heavyweights OSEES and Alex Maas of the Black Angels, performing off the back of his beautiful new solo album,
Special editions for two independent clubs have also been created:
Zebulon Edition – benefitting Zebulon in Los Angeles, California Hotel Vegas Edition – benefitting Hotel Vegas in Austin, Texas
The OSEES – “Levitation Sessions” live album is being pressed on vinyl . We’re donating all proceeds to independent music venues with the band. Back in September, OSEES performed a blistering set out in the desert at Pappy & Harriet’s, which aired on the LEVITATION Sessions streaming series. OSEES and the label are donating 100% of proceeds to independent music venues. Music venues have been hit particularly hard by the Covid-19 pandemic, with many in danger of closing their doors permanently. Unfortunately some have already.
“During this particularly hard year, it was a pleasure to work with our good friends over at Levitation and Pappy and Harriet’s to reach out to some of our fans, if only for a fleeting hour. This is the proper plastic that came from that evening. We are trying to keep some of our favourite haunts, dives, glorious old venues and bars open through this trial, as it’s obvious the lizards that make up the current administration have no real interest in extending any realistic help to struggling businesses.
Venues have been hit particularly hard by this and without them, there is no us….so this is a small token of appreciation and a grassroots effort to lend a helping hand in their time of need. Take care, be well and keep your eyes on the horizon.” – John Dwyer
The live album is now being pressed on vinyl via The Reverberation Appreciation Society record label. Each edition is limited to 1000 and includes a 7” with the final track from the show, “Block Of Ice” pressed on Desert Sand colored vinyl. These limited vinyl editions will be released March 5th, 2021 and will be available for pre-order on the LEVITATION website at 11am PT, on Friday, Dec 11, 2020:
The NIVA Edition proceeds will be donated to the National Independent Venue Association’s Emergency Relief Fund. The fund has been launched to raise money for the most vulnerable venues, and keep them afloat during these unprecedented times for live music. the second volume from garage-rock heavyweights OSEES and Alex Maas of the Black Angels, performing off the back of his beautiful new solo album,
Special editions for two independent clubs have also been created:
Zebulon Edition – benefitting Zebulon in Los Angeles, California Hotel Vegas Edition – benefitting Hotel Vegas in Austin, Texas
Zebulon Edition – benefitting Zebulon in Los Angeles, California Hotel Vegas Edition – benefitting Hotel Vegas in Austin, Texas
The OSEES – “Levitation Sessions” live album is being pressed on vinyl . We’re donating all proceeds to independent music venues with the band. Back in September, OSEES performed a blistering set out in the desert at Pappy & Harriet’s, which aired on the LEVITATION Sessions streaming series. OSEES and the label are donating 100% of proceeds to independent music venues. Music venues have been hit particularly hard by the Covid-19 pandemic, with many in danger of closing their doors permanently. Unfortunately some have already.
“During this particularly hard year, it was a pleasure to work with our good friends over at Levitation and Pappy and Harriet’s to reach out to some of our fans, if only for a fleeting hour. This is the proper plastic that came from that evening. We are trying to keep some of our favourite haunts, dives, glorious old venues and bars open through this trial, as it’s obvious the lizards that make up the current administration have no real interest in extending any realistic help to struggling businesses.
Venues have been hit particularly hard by this and without them, there is no us….so this is a small token of appreciation and a grassroots effort to lend a helping hand in their time of need. Take care, be well and keep your eyes on the horizon.” – John Dwyer
The live album is now being pressed on vinyl via The Reverberation Appreciation Society record label. Each edition is limited to 1000 and includes a 7” with the final track from the show, “Block Of Ice” pressed on Desert Sand colored vinyl. These limited vinyl editions will be released March 5th, 2021 and will be available for pre-order on the LEVITATION website at 11am PT, on Friday, Dec 11, 2020:
The NIVA Edition proceeds will be donated to the National Independent Venue Association’s Emergency Relief Fund. The fund has been launched to raise money for the most vulnerable venues, and keep them afloat during these unprecedented times for live music. the second volume from garage-rock heavyweights OSEES and Alex Maas of the Black Angels, performing off the back of his beautiful new solo album,
Special editions for two independent clubs have also been created:
Zebulon Edition – benefitting Zebulon in Los Angeles, California Hotel Vegas Edition – benefitting Hotel Vegas in Austin, Texas
The OSEES – “Levitation Sessions” live album is being pressed on vinyl . We’re donating all proceeds to independent music venues with the band. Back in September, OSEES performed a blistering set out in the desert at Pappy & Harriet’s, which aired on the LEVITATION Sessions streaming series. OSEES and the label are donating 100% of proceeds to independent music venues. Music venues have been hit particularly hard by the Covid-19 pandemic, with many in danger of closing their doors permanently. Unfortunately some have already.
“During this particularly hard year, it was a pleasure to work with our good friends over at Levitation and Pappy and Harriet’s to reach out to some of our fans, if only for a fleeting hour. This is the proper plastic that came from that evening. We are trying to keep some of our favourite haunts, dives, glorious old venues and bars open through this trial, as it’s obvious the lizards that make up the current administration have no real interest in extending any realistic help to struggling businesses.
Venues have been hit particularly hard by this and without them, there is no us….so this is a small token of appreciation and a grassroots effort to lend a helping hand in their time of need. Take care, be well and keep your eyes on the horizon.” – John Dwyer
The live album is now being pressed on vinyl via The Reverberation Appreciation Society record label. Each edition is limited to 1000 and includes a 7” with the final track from the show, “Block Of Ice” pressed on Desert Sand colored vinyl. These limited vinyl editions will be released March 5th, 2021 and will be available for pre-order on the LEVITATION website at 11am PT, on Friday, Dec 11, 2020:
The NIVA Edition proceeds will be donated to the National Independent Venue Association’s Emergency Relief Fund. The fund has been launched to raise money for the most vulnerable venues, and keep them afloat during these unprecedented times for live music. the second volume from garage-rock heavyweights OSEES and Alex Maas of the Black Angels, performing off the back of his beautiful new solo album,
Special editions for two independent clubs have also been created:
Zebulon Edition – benefitting Zebulon in Los Angeles, California Hotel Vegas Edition – benefitting Hotel Vegas in Austin, Texas
The Fat Angel Sings 