Archive for the ‘MUSIC’ Category


Marissa Nadler has released a new single, and it’s a collaboration with John Cale. Listen to “Poison,” plus another new Nadler song called “If We Make It Through the Summer,” below (via KRO Records). Marissa Nadler said of the collaboration in a statement:

Sometimes it’s best not to know in advance; that’s what I continually remind myself about how this duet with legendary songwriter John Cale came together. Had I known that Justin [Raisen] and Lawrence [Rothman] would arrange for Cale to sing “Poison” with me before I wrote or recorded it, I cannot be certain I wouldn’t have become frozen with hesitations and second-guessing.

How do you even start to go about writing a duet with a member of the Velvet Underground? Surely I might have nervously changed the lyric that accidentally namechecks a title of a Velvet Underground song (“Run Run Run”), at the very least. For me, Cale is one of the most influential rock musicians, remaining admirably hard to pin down. His appearance on this song was a complete surprise to me, but the instant I heard it I knew that this was the way the song was meant to be heard.

Marissa Nadler’s latest album, For My Crimes, came out last year.

Song written by Marissa Nadler

Guitar, vocals- Marissa Nadler Featuring guest vocals by John Cale.

A new nineteen-minute journey that continues on from their debut track, ‘Helios Hyperion’, written and recorded in 2014. A regular feature of their live shows, ‘Sun of Hyperion’ was recorded at the same time as their last album, ‘Mydriasis’ and therefore sees them operating as a four-piece once again. This track will take you exactly where you need to go, this time in the comfort of your own home – perfect for the current climate!

Side A
Side B

Instrumental heavy psych space rock with a slither of doom from Sydney, Australia..
The Band
Rick – Guitars
Rich – Bass
Andrew – Percussion
Jabs – Synth/Keys
Released June 10th, 2020

I’ve always been interested in hearing Jason’s original demo version of “Maybe It’s Time”. In 2018, Jason Isbell contributed the song “Maybe It’s Time” to the soundtrack of A Star Is Born, where it was performed by Bradley Cooper. The song earned Cooper his first solo Billboard chart placement and was later covered by Eddie Vedder. Now, Isbell has shared his own demo of the track. It’s out on Bandcamp today, along with an unreleased song called “Alabama Sky.” Listen below.

Back in May, Jason Isbell and the 400 Unit released the new album “Reunions”.


Jason Isbell – Vocals, Acoustic Guitar

“Maybe It’s Time (Demo)” was recorded by Dave Cobb RCA Studio A

“Alabama Sky” was recorded by Gena Johnson

released July 3rd, 2020

Birthed in the weird waters of Philadelphia & revitalized in the even weirder smog of Los Angeles, Man Man is an acclaimed experimental rock band trafficking in multi-genre ear worms. Unique, beautiful, undefinable. Man Man, the project led by Honus Honus (aka Ryan Kattner), have shared a new song, “Dig Deep.” It was posted to Bandcamp on a day where revenue shares are being waived. Any downloads of the song today (July 3rd) will benefit the NAACP and Know Your Rights Campaign and you can pay what you’d like, starting at $1.00.

Man Man released their first album in almost seven years, Dream Hunting in the Valley of the In-Between, in May via Sub Pop, Man Man’s first album for the label.

Previously Man Man shared the album’s first single, “Cloud Nein,” via a Kattner-directed lyric video for the new song. “Cloud Nein”. Then they shared another song from it, “Future Peg,” via a strange Stephanie Ward-directed video for the song. Then they shared another song  “On the Mend,” that featured backing vocals from Dre Babinski (aka Steady Holiday) and Rebecca Black ,


Dream Hunting in the Valley of the In-Between was the follow-up to 2013’s On Oni Pond. Since then Kattner has released a solo album, a children’s music album, and an album as a member of Mister Heavenly. But it took him a long time to get back to Man Man. Dream Hunting in the Valley of the In-Between was written over a three-and-a-half-year period while Kattner lived in a friend’s guest house in Los Angeles. Kattner pointed out in a previous press release that it was more of shack than a fancy guest house and had “an old upright piano, a thrift store lamp, and nothing else.”

“I had chord progression notes that looked like chicken scratch and lyrics on pieces of paper stuck all over the walls. It looked like I was about to break the big case, catch the killer,” Kattner said of the period. “One of the best things about this time, in these ‘lost in the wilderness/surreal exile from my own band’ years, was that I finally found players who believed in me, trusted my vision, respected my songwriting. It was rejuvenating.”

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UK newcomer Holly Humberstone boasts the maturity of an artist much further down the line, career-wise. Her cache of singles walk the line between gritty indie singer-songwriter gems and alt-radio chart hits. In a relatively short span of time, Humberstone has established a signature vibe – call it gritty pop realness. Prior to hunkering down in her childhood home, an “old, run down” country house in Grantham, England, the 20-year-old ‘Lord of the Rings’ zealot was touring with Lewis Capaldi, gaining the experience of rocking venues like Wembley Arena. To pass the time in quarantine, Holly and her sister shot a DIY vid for her latest single, “Overkill.”

“Lockdown meant that we couldn’t shoot a professional video, so we had to improvise a little,” she says. No biggie – it came out great, as did our Vevo DSCVR at Home sessions with her. I wanted Overkill to capture all the thrill and uncertainty and confusion and the many other emotions that come with falling for someone for the first time. I’m very aware I can come across as quite full on and I think sometimes I can be overkill lol but that’s fine. It was definitely the most fun I’ve ever had writing such a truthful + personal song and I hope u can relate to the words somehow !! The video for Overkill on the other hand was a relly weird experience. My sister Eleri decided to put me through my paces during lockdown. We took an old VHS camera and a torch out at dusk into the forest near our home. She had me follow her through the trees and bushes, as I played along to Overkill. It was basically my version of a 5k run except I had no idea where I was going, it was pitch black and impossible to see anything and I was tripping over twigs n stuff the whole time hahaha. Anyway I really hope u love Overkill like I do

Check out “Overkill” and “Falling Asleep At The Wheel,” and jump on the Humberstone bandwagon while there’s still room.

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Peel Dream Magazine is the musical vehicle for NYC’s Joe Stevens, who launched the band in 2018 with the critically acclaimed debut album “Modern Meta Physic,” a mysterious, liminal tribute to the hazy end of ‘90s dream-pop that found its place on numerous “Best of 2018” lists. Now Peel Dream Magazine are back with “Agitprop Alterna,” an album that pays homage to sonic and spiritual influences ranging from early Stereolab and Broadcast through stateside groups like Lilys and Yo La Tengo.. “Agitprop Alterna” finds Stevens channeling the collaborative spirit of the band’s live incarnation in the studio, deepening the connection between the existential and the interpretive first explored on “Modern Meta Physic.” It is a rejection of manipulation in all its forms and a buzz-saw against complacency; it’s a rare trick to agitate without being obvious, and perhaps that makes “Agitprop Alterna” the most Peel Dream Magazine-like statement yet.


A best of 2020! An Amazing blend of My Bloody Valentine, Stereolab, and Broadcast influences strewn across a collection of songs full of beautiful harmonies, organ loops, and distorted shoegazy chords. A wonderous effort from Peel Dream Magazine.From the first guttural guitar haze of “Pill,” you think you know what you’re getting. There have been lots of bands with that one perfect song capturing the bygone heyday of dream-pop and shoegaze. But across Peel Dream Magazine’s sophomore outing, the hits keep coming and the reference points keep collapsing in on each other. “Emotional Devotion Creator,” “Do It,” “Too Dumb” — each song finds the Peel Dream exploring different iterations of psychedelic music and blurring the boundaries between them. The hooks, history, and philosophy all become detritus swirling together into a kaleidoscopic reinterpretation you can’t look away from.

released April 3rd 2020

Joe Stevens – Vocals, Guitars, Organ, Synth, Drones, Drum Machine
Jo-Anne Hyun – Vocals
Brian Alvarez – Drums on Pill, Escalator Ism, Too Dumb, Do It, and Eyeballs
Kelly Winrich – Drums on Emotional Devotion Creator, Brief Inner Mission, NYC Illuminati, and Up and Up

All songs written by Peel Dream Magazine

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Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival – these hopeful heroes are Deerhoof’s inspiration. These are the Future Teenage Cave Artists. Faithful listeners will recognize a certain alienated but transformational figure who shows up in Deerhoof songs going back to their earliest days. Take the narrator of The Perfect Me from 2007’s Friend Opportunity: an orphaned but eager soul attempting to entice other wounded wanderers who might lack a home, a clan, a family, a history. But on FTCA our protagonist is threatened by terror lurking around every corner. Add to that the fact that our ‘cast-off queen,’ our ‘maniac,’ our ‘terrible daughter’ is watching themselves get orphaned in real time, by an older generation in power that would seemingly rather see life on Earth destroyed than let go of archaic systems of capital.

Like a lot of the music they have released over the last quarter-century, the Deerhoof of Future Teenage Cave Artists (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of ‘r&b’ and ‘classic rock’ and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy, the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies.

In this sense, Future Teenage Cave Artists inverts the formula of Deerhoof’s last album, Mountain Moves, which invited a wide community of collaborators to band together in an open celebration of solidarity. The new one, on the other hand, is borne of self-isolation and deprivation. It’s the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis. Guitar pedals malfunction mid-take, reverbs chop off mid-tail, drum fills get abandoned mid-phrase. Some musical moments, as gorgeous and touching as anything Deerhoof has ever written, stop short for no apparent reason, giving way to queasy smudges of sound. Many of the instruments and voices were recorded with nothing more than the built-in mic of a laptop. Harsh splices make no effort to hide the seams. In this way Future Teenage Cave Artists joins a long and storied lineage of pop records that expose the insular and reclusive nature of the recording process itself.

Like Let It Be, There’s a Riot Goin’ On, or Sister Lovers, this record is its own “making-of.” Absence is a central character in the drama. For every heartwarming melody or pile-up of parade drums or shard of loopy guitar noise, there is musical acknowledgement of the toll that constant threat of cataclysm takes on mental health. All funerals remind us that life goes on, somehow. In that time after the end times, it’s not only the food systems, energy systems, and political systems that will have to be rebuilt. Myths, stories, and rituals we use to make sense of the world are up for revision, too. This is a record about resilience and the persistence of hope in a future beyond any reasonable justification for it. Like so many young people today, Deerhoof seems to be already living in that future.

Future Teenage Cave Artists is due out May 29th via Joyful Noise. “Future Teenager Cave Artists” .

Deerhoof is Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano. Future Teenage Cave Artistsis the follow-up to 2017’s Mountain Moves.

Chicago songwriter and guitarist James Elkington—who has collaborated with everyone from Richard Thompson to Jeff Tweedy to Tortoise—recorded his sophomore album at Wilco’s Loft, expanding upon his celebrated 2017 debut Wintres Woma as well as his recent production and arrangement work for the likes of Steve Gunn, Nap Eyes, and Joan Shelley. 

The “Beechwood Park/Corridor Country” single follows James Elkington’s 2020 full-length album Ever-Roving Eye (PoB-050) and includes one studio outtake from that acclaimed album as well as a cover of the Zombies classic. Both “Park” and “Country” are performed in solo settings. Uncut awarded Ever-Roving Eye a 9/10 rating, hailing it as a “triumph … an outstanding record from a humble collaborator” (and their Album of the Month), while Pitchfork, MOJO, The Guardian, and many others described it as Elkington’s best work to date.

James shares his thoughts about both “Beechwood Park” and his relationship to memory and the past: I’m not really a nostalgic person, but I write about the past a lot as if it happened in a dream and that I’m merely reporting on it. “Beechwood Park” by The Zombies has that same feel to me. On the face of it, it seems to be an idealized view of the past that’s almost trite in its remembrance of “summer rain” and “country lanes,” but the winding chord sequence and spidery guitar tone makes it feel like it’s happening in a different dimension, and I’m always drawn to music that does that.

I worked up this version last year when I was sitting in a studio in upstate New York, waiting for a cab. The band I’d been working with had already left that morning, and the studio engineer was elsewhere, so I was on my own for some time. I can’t remember what prompted me to start working on it, but I do know that the studio was on a country lane, and it was raining, late summer. 

Released July 3rd, 2020

Performed by James Elkington (vocals, guitar, harmonica)

The Bay-area’s own formidable Dark Anarcho post-punk act Ötzi are riding out these tenebrous times with a whirling tempest of their own, in their new album aptly titled Storm.

This, the band’s sophomore album, is unrelenting in its sonic deluge of captivating melodies led by K. Dylan Edrich”s guitars cutting the air with her punk driven riffs like the cold fingers of the band’s titular mummified human, coupled with the flawless efforts of drummer Gina Marie, and bassist Akiko Sampson, whose rhythm section marches forward against the elements, driven by fervent emotions of anger and sorrow that are channel Sampson’s stalwart vocals.

Oakland punk outfit Ötzi’s recent single “Hold Still,” taken from their new album “Storm”, out now via Artoffact Records. “Hold Still” is a snappy marriage of classic punk-pop and gothic post-punk as their effervescent pop chorus melodies co-exist beautifully with their moody guitar echo. “I see the ocean in your eyes / I’m reaching for you / Tears reflecting darker skies / I’m all around you,” their dual vocalists sing, reflecting the inseparable bond between interpersonal and political despair with poetic grace.

“We’re so overwhelmed by the awful things happening in the world, that sometimes it’s hard to see the good that exists right in front of us,” says drummer and vocalist Gina Marie. “The song was written to express love and appreciation for that one person who gets you through the day.”

Watch the video for “Hold Still”, which features new member, and multi-instrumentalist Winter Zora on keys,  below:

On the records ardent resolve, that pushes ever onward with defiant optimism, Bassist/vocalist Akiko Sampson explains further: “The darkness of our sound doesn’t come from existential dread or moroseness, it’s a reflection of the lives we’ve lived as femmes in an often hostile world. We express all this mourning and anger through our music, so playing is always cathartic for us. But afterwards, what we’re left with is a sense of hope and a vision for what can be. So in this album, we wanted to incorporate all of those dimensions. Because that’s what ‘Storm’ is about – huge, violent life changes that leave you transformed forever.”

Not to be stifled by tour cancellations in wake of the current global pandemic, Otzi have been undaunted in promotion of their new record, unleashed a series of song premieres for the tracks such “Moths”, “Ballad of Oiwa”, and “Eight Cups” that have aptly taken the worldwide dark post-punk scene by storm.

One of these premieres was for a music video for the album track “Hold Still”, which features footage of the band right before lockdown having fun at the boardwalk—an activity steeped in childlike joy spun in a wonderful reverie of cotton candy, Ferris wheels, and merry-go-rounds.

From the ‘Storm’ album on Artoffact Records

Bill Callahan

Knaresborough-raised troubadour Bill Callahan returns with “Gold Record”  – an album made whilst he was preparing to tour his previous album Shepherd In A Sheep’s Vest. A lot of the album is culled from tracks he’d written over the years for other artists to sing  – all recorded on the hoof in an intuitive and creative burst with some good friends helping flesh the sounds around that rich, warm baritone vocal.  Called Gold Record and it’s out September 4th via Drag City Records. The 10-song album features a new version of “Let’s Move to the Country,” from Smog’s 1999 album Knock Knock, and a track named after Ry Cooder.

It’s the Gold Record we always knew Bill Callahan had in him! Last summer, he returned from a silence of years – now, he’s raring to go with another new one already. The abiding humanity of latter-day Callahan is highlighted by dark plumes of caustic wit upending standards of our everyday life and the songs that celebrate it: the job, the wife, the TV, the neighbors. Bill slips easily into his characters, whether they’re easy people or not – and the cross-hatch of their light and shadow is unpredictably entertaining in the manner that belongs only one singer in this whole wide world: we’re still talking about Bill Callahan.
His first record in….uh, well, just over a year, Bill Callahan gives us a Gold Record. They might not all be gold, and fortunately, they’re not all six years apart either. You could probably ALSO call it “Gold Records”: the songs all have a stand-alone feel, the way singles do, for you to have a deep encounter with ’em all of a sudden, a whole relationship, from the start of the song to the finish. And what do you got when you have a record full of singles – and let’s face it, hit singles, at that?.

For Bill, preparing to tour for Shepherd In a Sheepskin Vest meant considering being away from home for long stretches of time – months, seasons, maybe as much as a year, who knew? Feeling his oats, Bill pulled out a few sketches from the notebooks and finished them up some. Before he knew it, he was recording them, and in the shuffle, new songs started popping up too.

It happened fast. Basics were recorded live, with Matt Kinsey playing guitars, guitars, guitars and Jaime Zurverza holding it down (then letting it go) on bass. Drums and horns were brought in for a couple songs. Spirits were high! Six out of the ten tunes were done first take; overdubs, when needed, came equally quickly. Listening, one hears the intuitive cohesion coming together richly, back of Bill’s titanic voice spread across the stereo spectrum: the gentle-yet-spirited conversation of Bill and Matt’s guitars, the subtle percussing of bass and drums and oddments of trumpet, woodwind and synth, striking notes decorous and discordant, sounding for all the world like the naturally occurring sound meant to accompany and express lives lived everywhere.

Releases September 4th, 2020 , Drag City Inc

Gold Record is the follow-up to last year’s Shepherd in a Sheepskin Vest, which marked Callahan’s first album in six years. He recorded Gold Record with guitarist Matt Kinsey and bassist Jamie Zurverza.

Bill Callahan will share a new song every week leading up to the full album’s release. The tracks arrive on Mondays, starting on June 29th.