The final studio album from the late, great Jason Molina –  “Eight Gates” (Secretly Canadian) Limited Edition “Shortbread Splash” Red Vinyl LP, Black Vinyl LP, CD

The singer/songwriter, who released his most well-known albums under the alias Songs: Ohia (his indie folk outfit) and then later with his band Magnolia Electric Co. (who were more comfortably classified as country-rock), died way too young at 39 in March of 2013. He struggled with depression and alcoholism for years, the latter of which eventually led to organ failure. His story is a tragic but familiar one: Like Elliott Smith or Kurt Cobain or Amy Winehouse, Molina was a genius who left us too soon.

Thankfully though, like Smith, Cobain and Winehouse, Molina released near-perfect music in the short time he was here. Those aforementioned nine never-before-heard songs will arrive in the form of a new posthumous solo album, Eight Gates, on Friday, August. 7th via the storied indie/folk label Secretly Canadian. The label is releasing Eight Gates under Molina’s name (as opposed to one of the other monikers he used while he was alive), and its arrival was preceded by two singles: “The Mission’s End” and “Shadow Answers the Wall.” Recorded in the late 2000s when the Ohio-born Molina was living in London, Eight Gates is a lo-fi unfinished effort (probably because it was, in fact, never fully finished). It doesn’t feel like enough to constitute an album. But considering that our desire for new Molina music will never actually be satiated, it’s appropriate that Eight Gates leaves us wanting more.

This is a really special one  “Eight Gates” is the final collection of studio recordings made by Jason Molina (also known by Songs Ohia and Magnolia Electric Co.) in 2013, before he passed away from complications around alcoholism. Taking its name from the fabled seven gates in London’s walls, the eighth was Molina’s own way into the city. He was feeding bright green parrots in his yard, descended from ring-necked parakeets Hendrix released over London skies in the ’60s, and making some of the most fully-realised music of his career.

Secretly Canadian announce this new Jason Molina record, Eight Gates, will be released on 7th August and share the track ‘Shadow Answers the Wall’. The album is the last collection of solo recordings Molina made before he passed away from complications related to alcoholism in 2013.

Pre-Order Eight Gates

Sometime in 2006, or 2007, Jason Molina moved from the Midwest to London. Separated from his bandmates and friends, and never one for idleness, Molina explored his new home with fervor. He’d pick up on arcane trivia about London’s rich history, and if the historical factoids weren’t available, or weren’t quite to his liking Molina was quite comfortable conjuring his own history.

When he learned of the London Wall’s seven gates, Molina went ahead and called it eight, carving out a gate just for himself. The eighth gate was Molina’s way into London, a gate only passable in the mind.

Fast-forward to 2008, Molina set off on an experimental solo tour through Europe. While in Northern Italy, Molina claimed to have been bitten by a rare, poisonous spider. A debilitating bout of illness ensued. “I was in the hospital here in London,” Molina wrote in a letter. “Saw six doctors and a Dr. House-type guy. They are all mystified by it, but I am allowed to be at home, where I am taking a dozen scary Hantavirus type pills a day that are all to supposedly help but they make me feel like shit.” There is no record of a single doctor visit, not any prescription record for these medications. It is entirely plausible there was no spider and that whatever was keeping him indoors during this time was entirely self-induced. While at home, he of course wrote songs.

Molina also claimed that during this time, he fed several bright green parrots that would gather in his yard and made short, crude field recordings of them with his trusty four-track. Only once Molina was officially on the mend and re-exploring the streets of London would he learn that those parrots had their own fabled tale. Back in the 60s, Jimi Hendrix — in a moment of psychedelic clarity — released his pair of lime green ring-necked parakeets from their cage, setting them free into the London sky. Now, their descendants are spotted regularly around certain parts of the city. Or so we’re told.

Recorded in London around the time of the supposed spider bite and Jimi’s supposed parakeets, some of the songs on Eight Gates (“Whispered Away,” “Thistle Blue”) are fully-realized — dark, moody textures that call to mind his earlier work on The Lioness. Knowing what we know about those parakeets and their peppered presence on the recordings, one can’t help but think of that colorful tree of birds on Talk Talk’s classic Laughing Stock, certainly a spiritual guide for much of the set. Other songs (“She Says,” “The Crossroads and The Emptiness”) lay in a more unfinished states, acoustic takes that call to mind Molina’s Let Me Go Let Me Go Let Me Go, and still tethered to Molina’s humorous studio banter. You remember how young Molina was, and how weighty this art was for such a young man. On the closer, “The Crossroads and The Emptiness,” Molina snaps at the engineer before tearing into a song in which he sings of his birthday (30th December), a palm reading and the great emptiness with which he always wrestled. It is a perfect closer and, in many ways, the eighth gate incarnate: mythical, passable only in the mind, built for himself and partway imaginary but shared, thankfully, with us

“Shadow Answers the Wall” by Jason Molina, from the upcoming record ‘Eight Gates’ out August 7th, 2020 on Secretly Canadian.

Tracklisting: 

  1. Whisper Away
  2. Shadow Answers the Wall
  3. The Mission’s End
  4. Old Worry
  5. She Says
  6. Fire on the Rail
  7. Be Told the Truth
  8. Thistle Blue
  9. The Crossroad + The Emptiness

One quality that differentiates Molina from those other lost names, though, is that he was never really famous. He played small shows and roughed it for most of his career. In death, however, his songs have taken on a mystical quality—In 2014, a host of artists like My Morning Jacket and Sarah Jaffe shared fresh takes on his songs for a covers album called Farewell Transmission: The Music of Jason Molina. Since then, even more artists have come forward as Molina disciples: Kevin Morby and Waxahatchee covered two Songs: Ohia classics for a split single in 2018, “Just Be Simple” is a staple in The Avett Brothers’ live show and Amanda Shires covered that same song in our studio a couple years back. Hopefully Eight Gates will lead even more Americana-minded musicians down the long trail of breadcrumbs Molina left behind.

The Broken Beauty of Jason Molina’s Final Album, <i>Eight Gates</i>

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In Another Life marks the third studio album for Active Child, the first in 5 years. Since 2017, we’ve been getting glimpses of a project in the works but never a full album. Alas, the wait is over and fans get 10 fresh and epic new songs from the harpist who’s falsetto is a work of art. I was trying to come up with an RIYL to some friends and he is really hard to pindown. My mashup was “James Blake, Antony & The Johnsons, Rhye, Joanna Newsom, Craft Spells & Jonquil were put in a blender, then something like Active Child might pop out, maybe” Crude, but whatever.

The eponymous single is simply remarkable. Starting softly and slowly building to a more broader, deeper sound until the climax of the full band gives way to a cascade of simplicity at the end is really some excellent composition. The ride is complete with operatic vocalization that moves your inner being in ways that haven’t been done since “A Seat at the Table” or “Limit to Your Love”.

Thankfully the album doesn’t just put out one stellar track but oscillates from one track to the next providing a steady stream but slower, melodic songs to more electro pop like sounds all being emphasized by strings and his harp. A major highlight is “Set Me Free” which grasps your soul and tugs hard on it, especially if you watch the music video. Another highlight is “Weightless” which is another song contemplating humanities worst inevitable fear, death and growing old. The song also has an unintentional double meaning for our current situation we are in with lyrics like: no contact / never ever leaves / stuck inside of me. The album rounds out with “Cruel World” which was originally dropped in 2017 but was never properly released until now. I found it an uplifting end to the album, basically pointing out how terrible the world is but it’s worth it to keep your head up because time is short.

Overall, the album is the type you put on, relax on the couch and listen to as if you were watching a well made TV show that is though provoking, has a well formulated story line, and gives you pause as you ponder life’s brutal nature.

Official Video by Active Child, from the new album ’In Another Life’ –

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The Song is Coming From Inside the House is a 24-track COVID-19 charity compilation of B sides, demos, and unreleased songs from some of the country’s best underground acts. All proceeds will benefit Groundswell’s Rapid Response Fund, an organization working to address the deep problems and injustices that underlie our economy, political system and our communities.

The Groundswell Rapid Response Fund provides fast funding to grassroots organizations led by women of colour, trans people of colour, and low-income women and trans people in critical, but unexpected, fights to protect and advance reproductive and social justice, including mutual aid societies, rent moratoriums, and digital organizing. You can read more here about how they are adapting their approach to meet the demands of the COVID-19 pandemic: groundswellfund.org/rapid-response-fund/#covidrapid

We are supporting Groundswell because this is a way for us to invest in organizations working to address some of the severe inequities in our society that this pandemic is highlighting. Victims of COVID-19 are disproportionately people of colour, and the crisis has already been used as an excuse by lawmakers to deny abortion access. We feel that issues like these have been unreported relative to the general media conversation surrounding COVID-19, and as a result they are likely to be underrepresented in charitable efforts.

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Art by Mac Pogue. Special thanks to Jessica George and Amber Carew for their help with this project.

Released April 30th, 2020

Very happy to have a never before heard horse Jumper song included on this compilation along with so many great artists. All proceeds will be going to the groundswell rapid response fund for covid 19 relief. @groundswellfund is offering relief to to communities most at risk pls check them out and consider buying the comp tomorrow actually because Bandcamp is waiving their revenue share !! Big thanks to @strange_ranger_ for putting this together!.

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Memory looms large on Horse Jumper of Love’s hypnotic sophomore album, ‘So Divine,’ but it remains elusive. Throughout the record, tiny snapshots from the past float to the surface, baring themselves for brief moments before diving back into the ether. Like abstract collages, the Boston-based three-piece’s songs jumble richly detailed scenes and vivid imagery, papering over one moment with the next until each string of seemingly unrelated thoughts coalesces into a breathtaking work of art, one that reveals deep truths about ourselves and our psyches.

“A lot of these songs are about making small things into huge deals,” says guitarist/singer Dimitri Giannopoulos. “They all start with these very specific little memories that, for some reason or another, have stuck in my mind. Memories morph and change over time, though, and they become freighted with all these different meanings. We’re constantly adding to them.”

The same could be said of Horse Jumper of Love’s music. Giannopolous wrote much of what would become ‘So Divine’ as a teenager, carrying the tunes with him as skeletal demos for years before bringing them to his bandmates (bassist John Margaris and drummer Jamie Vadala-Doran) to flesh out in the studio. Even then, the songs continued to grow and mutate, with the group recording multiple iterations of the album as they experimented with tempo and technique.

“I’d dropped out of college and was living at home when I first started writing these songs,” Giannopolous remembers. “I was staying up all night recording in the basement because I didn’t feel like I had any other options. It was either make music or feel terrible about my life.”

Giannopolous found kindred spirits in Margaris and Vadala-Doran, and after moving out on his own, he officially launched Horse Jumper of Love in 2013, taking the group’s moniker from a Latin phrase that had gotten more than a little lost in translation. The band would spend the next three years refining their studio craft and live show, garnering a devoted following playing DIY gigs around New England as they climbed their way into what Pitchfork described as “the top tier of the Boston house show scene.” In 2016, they released their self-titled debut to rave reviews, with NPR praising the band’s “slow, syrupy rock songs” as “cautiously measured and patiently curious” and Stereogum hailing their “delightfully distorted mess of energy.” In 2017, the group released a vinyl and digital re-issue of the album along with a limited edition demo anthology.

When it was time begin work on ‘So Divine,’ Horse Jumper of Love headed south and set up shop at Big Nice, a riverside warehouse-turned studio in Lincoln, RI. While many of the tracks they planned to record dated back to Giannopolous’ youth, several were so new that they hadn’t even been demoed yet, offering up a blank slate for the band’s methodical sonic explorations.

“We decided to go in blind and just see what would happen,” explains Giannopoulos. “The studio was this really great and open environment with incredible gear, so everyone felt totally free to try whatever they wanted.”

The result is a record that breaks new ground even as it stays the course, emphasizing the band’s keen eye for detail and muscular arrangements. Songs develop at a glacial pace, progressing forward with almost imperceptible momentum as they carve deep canyons and valleys through walls of solid rock.

“My approach to songwriting has always been really gentle,” says Giannopoulos. “Everything starts with an acoustic guitar, but then I bring the music to Jamie and John and they really beef it up. I love everything they do, so production is a joint effort between all three of us.”

The record opens with “Airport,” a mesmerizing tune that builds from a whisper to a roar as washed out cymbals and fuzzy electric guitars swirl into a frenzied maelstrom. The song proves to be an ideal entry point for an album all about the power of escalation, about the ways tiny, seemingly inconsequential moments can snowball into profound revelations in our mind. Spilled yogurt leads to an existential crisis on the driving “Volcano,” while a childhood day at the beach turns into an out of body experience on the hazy “Poison.”

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“Who isn’t freaked out by life as a teenager?” Giannopoulos recalled in an interview with the popular Boston blog Allston Pudding. “I had a phase when I was sixteen or seventeen where I thought nothing was real. Like, I thought I was living in a constant dream…I needed a way to cope with that, so I wrote these songs.”

Giannopoulos’s lyrics are brief but dense, often without a rhyme in sight. Some songs gush with a beat poet’s stream of consciousness, others consist only of a single recurring line recited over and over like some sort of abstract prayer. With an unhurried, deliberate delivery, such phrases seem to gain new shades of meaning with each repetition, or at the very least, challenge us to create our own.

“There’s not [just] one message,” Giannopoulos told WRBB, suggesting that in the end, no matter what you think the band’s songs are about, you’re right.

Perhaps that’s ultimately the divinity to which the title refers. What’s more holy, after all, than drawing meaning from the mundane? The memories we carry with us are not fixed, but fluid, able to change shape and fill whatever purpose we assign to them. Horse Jumper of Love aims to do precisely that with their music, and it’s a divine thing indeed.

Originally released June 28th, 2019

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Little Kid was formed in the year of our lord 2009. since then, they have self-recorded and self-released five albums.

Forty days and nights in that bus riding through the lights. book says to stop where the shoulder narrows on transfiguration highway. just dont dare look back for all the salt. and hanks here and tammys here and gram but no not emmy and no way is george gonna be here if tammys here but still the rest of em are all here and theyre singin and the singin is good. and when i hear it right away im picturin lindsay and her eyes blinkin and her eyes are islands sand and water and im pickin her up and carryin her around and puttin her down because it makes her happy-cry. but shes in toronto and im on the highway so for now im lookin out the window.

and i know i could hold a harmonica out that window and let the wind play it. learned that on this very bus once. but the wind only exhales so it neglects some notes and its all major and its all tonic all night. ive learned a song doesnt need many chords but all my favourites at least use more than one. so its still best to hear woman or man or any person play because unlike the wind most folks can inhale also.

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and as we drive ive been lookin for a house but it aint

releases July 3rd, 2020

Little Kid is:
Kenny Boothby – Vocals, Piano, Acoustic Guitar, Classical Guitar, Harmonica, Organ, Casio SK-1
Megan Lunn – Vocals, Banjo
Paul Vroom – Bass, Percussion, Casio SK-1
Liam Cole – Drums
Brodie Germain – Electric Guitar, Acoustic Guitar, Drums on “Transfiguration Highway” and “Losing”

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Brighton based band Squid are happy to be releasing a new track called “Broadcaster”. It’s one of the few tracks we actually had time to road-test before the lockdown! It’s got a real sci-fi vibe which feels pretty relevant in our increasingly dystopian surroundings. We hope you enjoy it…and how could we forget… it’s being released on vinyl with Sludge.

The Brighton rock group Squid have shared their second single of the year. It’s called “Broadcaster.” Give it a listen below.

“Lyrically the track was inspired by the visual artist Naim June Paik and his TV Garden installation,” the band’s drummer/vocalist Ollie Judge said in a statement. “I thought it blurred the lines between a dystopian and utopian vision. I imagined what it must be like living synonymously amongst nature and technology in the most literal way I could imagine, with TVs towering over me amongst forests.”

Earlier this year, Squid shared “Sludge,” which was their debut song for Warp Records. On June 26th, Squid and Warp will release a 10″ vinyl record with “Sludge” and an extended edition of “Broadcaster.”

Taken from the ‘Sludge/Broadcaster’ Limited edition 10″ Vinyl, released 26 June on WARP Records.

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When the Anti- Records’ publicist tells us we’re all likely to write that the follow-up to 2019’s These Times is “new and different,” it turns out that this time to be accurate.

The Universe Inside takes a dramatic left curve from the more traditional singer/songwriter neo-psychedelic alt/pop and alternative rock that has dominated the work of Steve Wynn, who led The Dream Syndicate in the 80’s, had a long and storied solo career, and re-formed the band in 2012 with original drummer Dennis Duck, Mark Walton, the longest lasting of the early bassists, and new guitarist Jason Victor. Together they’ve produced two full-length studio recordings and a live album, which solidified their earlier psychedelic leaning while also rocking harder and greater intensity. But if you can remember all the way back to Wynn and Dream Syndicate’s first and most significant breakthrough in 1982, The Days of Wine and Roses, a 7-plus minute mix of Dylanesque verses with lengthy guitar jams, which points in the direction of the band’s newest work.

Even so, nothing prepares one for the 20-plus minute opening track, “The Regulator,” a groove based jam that relies on the guitar interplay of Wynn and Victor, but features additions from Chris Cacavas on electric piano, Marcus Tenney on sax, and Stephen McCarthy on electric sitar. Wynn offers on vague paragraph of lyrics that’s repeated which suggests “songs and sounds that soothe the savage soul,” in a voice that’s a mix of Leonard Cohen’s deep bass and Tom Waite’s gargled gravel resonance. But the emphasis is on the repeated question, “have you heard?” and the band’s expansive instrumentals, mixing jazzy moments with more ethereal sounds, all driven by Walton’s relentless bass line and the song’s refusal to end, repeatedly rebirthing into the long, lasting groove.

Similarly, the not to the same degree or length, the four other tracks feature extended instrumental interplay. “The Longing,” which features Wynn in his more comfortable singing voice describing that inner desire to live, to love, to communicate, coming in at 7 and a half minutes. The other three are all in the 10 minute range, but not all these lengthy jam oriented pieces are created equal. “Apropos of Nothing” is appropriately titled, while “Dusting Off the Rust” is a superior instrumental built on a more substantial jazz riff and relying on Tenney’s fuller horn sound, playing trumpet as well as sax. They slow things down to a haunting, slower pass with long searching jazz tones on the guitars and horns as Wynn at first talks through his poetic lyrics, but it builds of course again to an expansive, psychedelic feel to match Wynn’s mention of “psilocybin lysergic psychedelic dreams.”

These long trippy jams recall an era in the 70’s when bands like the Grateful Dead and Allman Bros. were notorious for long, spacey instrumentals, but the addition of Tenney mostly on sax, give The Dream Syndicate a decidedly jazz orientation which will appeal to some who appreciate the idea of seasoned musicians jamming freely. But compact, singer-songwriter pop/rock, this is not.

“The Slowest Rendition” by The Dream Syndicate from the album ‘The Universe Inside,’ available now

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Roger Waters and his band perform ‘Mother’ from isolation, Roger Waters yesterday shared a rendition of Pink Floyd’s ‘Mother’ to Twitter  (May 17th). In keeping with social distancing regulations, Waters and members of his touring band performed the cover from their respective homes. Written by Waters in the late 1970s, ‘Mother’ originally appeared on Pink Floyd’s ‘The Wall’.

It has since become a regular feature of Waters’ solo shows, often performed as an encore. The new version of ‘Mother’ follows on from two covers Waters also recorded in isolation last month. In April, he paid tribute to the late John Prine, sharing a cover of Prine’s track ‘Paradise’.  https://www.youtube.com/watch?v=eIhUsfhXBJMWaters also shared a version of Victor Jara’s song ‘The Right To Live in Peace’.
Like most touring artists, Waters has been forced to postpone shows as a result of the coronavirus pandemic. In March, he announced that his ‘This Is Not a Drill’ U.S. tour, which was scheduled for July, would instead take place in 2021. “I’ve had to postpone my tour until next year,” Waters wrote on Twitter. “Bummer, but if it saves one life, it’s worth it.”

Social distancing is a necessary evil in Covid world. Watching “Mother” reminds me just how irreplaceable the joy of being in a band is.

Paul Vaughn Butterfield was an American blues harmonica player, singer and band leader. After an early training in classical flute, he developed an interest in blues harmonica and explored the blues scene in his native Chicago with guitarist Nick Gravenites, who shared an interest in blues. By the late 50s they were visiting blues clubs in Chicago where Muddy Waters, Howlin’ Wolf, Little Walter and Otis Rush were encouraging them and occasionally let them sit in on jam sessions. Butterfield met aspiring blues guitarist Elvin Bishop in the early 1960s and with bassist Jerome Arnold and drummer Sam Lay (both from Howlin Wolf’s touring band), the new group secured a highly successful club engagement at Big John’s Folk Club in Chicago which brought them to the attention of producer Paul A. Rothchild.

During their engagement, Butterfield met and occasionally sat in with guitarist Mike Bloomfield. Rothchild was impressed with the chemistry between the two and persuaded Paul to bring Bloomfield into the band and eventually signed them to Elektra Records in 1964. Two attempts to record a debut album did not meet Rothchild’s expectations, but he persuaded Jac Holzman to agree to third attempt at recording a full length album. Rothchild assumed the role of group manager and used his folk contacts to book them at the Newport Folk Festival in 1965.

The band was able to attract an unusually large audience that was not accustomed to seeing an electric blues combo, as well as the attention of Bob Dylan, who helped raise the band’s exposure. The band added keyboardist Mark Naftalin, and its debut album, “The Paul Butterfield Blues Band” was finally successfully recorded in mid-1965 and released later that year. The album reached number 123 in the Billboard 200 chart, but its influence was felt way beyond the sales figures. Jazz drummer Billy Davenport was invited to replace Sam Lay, who was ailing.

In July 1966, the sextet recorded their second full length album, “East-West”. The album consisted of more varied material and reached number 65 on the album charts. The 13-minute instrumental track “East-West” incorporates Indian raga influences and some of the earliest jazz-fusion and blues-rock excursions, being described as “the first of its kind…and the root from which the acid rock tradition emerged.” Live versions of the song sometimes lasted an hour and performances at the San Francisco Fillmore Auditorium “were a huge influence on the city’s jam bands.” In spite of its success, the band soon changed its line-up. Arnold and Davenport left the band and Bloomfield went on to form his own band, Electric Flag. With Bishop and Naftalin remaining, the band added bassist Bugsy Maugh, drummer Phillip Wilson, and saxophonists David Sanborn and Gene Dinwiddie. This line-up recorded the band’s third album, The Resurrection of Pigboy Crabshaw

in 1967. The album cut back on instrumental jams and focused more on an R&B influenced horn-driven sound. It was Butterfield’s highest-charting album, reaching number 52 on the chart. Most of this line up performed at the seminal Monterey Pop Festival in the summer of 1967. On the next album, “In My Own Dream”, the band continued to move away from its roots in Chicago blues towards a more soul-influenced, horn-based sound. The album reached number 79 on the Billboard chart and by the end of 1968, both Bishop and Naftalin had left the band. The band was invited to perform at the Woodstock Festival on August 18th, 1969. They performed seven songs, and although its performance did not appear in the film Woodstock, one song, “Love March,” was included on the original album release Woodstock: Music From the Original Soundtrack and More,released in 1970. In 2009, Butterfield was included in the expanded 40th Anniversary edition Woodstock video, and an additional two songs appeared on the box set Woodstock: 40 Years On: Back to Yasgur’s Farm. Finally in August 2019, Rhino Entertainment released the web-only, 38CD/blu-ray, numbered and limited box set: Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive which included Butterfield’s complete set. And if voted to win, Run Out Groove will issue this incendiary live set on vinyl for the very first time with new artwork and deluxe packaging.

Featuring:
PAUL BUTTERFIELD: vocals, harmonica
HOWARD “BUZZY” FEITEN: guitar
ROD HICKS: bass
TED HARRIS: keyboards
DAVID SANBORN: alto saxophone and percussion
GENE DINWIDDIE: tenor saxophone, percussion and vocals
TREVOR LAWRENCE: baritone saxophone and percussion
KEITH JOHNSON: trumpet
STEVE MADAIO: trumpet and percussion
PHILLIP WILSON: drums and vocals

The Paul Butterfield Blues Band “Live At Woodstock” Limited and numbered to 2452 LPs (we will provide you with the number). We expect this title to ship in August 14th.

I’ve been working on this record a while and super excited that it’s finally coming out. We recorded it in Oakland in February with our bud Jack Shirley who has done all the Death Rosenstock records. We got in a big room at his new studio and bashed it out, had some laughs, I got a root canal, we brought back a lot of the friends who sang and played on Post– to sing and play on this one too.

We had big fun plans of releasing this record this summer, touring the world and seeing everyone again after taking a year or so off the road to get our bearings. Frustratingly, like everyone in a band right now (except for that one weird jerk hahaha) we have no idea when we’re going to be able to play shows for you again. Once we accepted that reality, we wanted to get this record to you as soon as we possibly could! I’m super sad we can’t see everyone right away and play these songs for ya, but shit at least we got to record it!! We finished it like a week before freakin’ lockdown started happening. NO DREAM is the 4th studio record from the Death Rosenstock band full of chords, words, beats and more! Tracked live in a big room for that classic “is that a mistake?” sound by Grammy-nominated recorded “Grammy Jack” Shirley,

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Oh yeah, if you like No Dream and feel like sharing this cover art on your social media stuff to let people know about the record that would be super cool and helpful to us since we haven’t told anyone else about this record until now! Ha!!! Alright!!!!

Released May 20th, 2020
The Band
JOHN DEDOMENICI – BASS
KEVIN HIGUCHI – DRUMS
MIKE HUGUENOR – GUITAR, VOCALS
DAN POTTHAST – ACOUSTIC GUITAR, KEYS, VOCALS
JEFF ROSENSTOCK – VOCALS, GUITAR, KEYS N MORE