LAURA STEVENSON – ” Time Bandits “

Posted: March 17, 2020 in MUSIC
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Last year, Laura Stevenson released her latest in a line of great albums, The Big Freeze. Since then, she’s released covers by Wilco and Neil Young and tourmate Adult Mom.

Today, she’s shared a new original track that emphasizes our constant anxiety in trying times: “Quit smoking baby, even though the world is ending,” she sings in its opening lines. “Keep looking maybe there’s a place to rest our heads better than this/ You’ll find the hardest part’s the mark you didn’t make.”

Stevenson had to say about the song: I wrote this song right after I got married, right as Trump got elected. It was a crazy time and a lot of people felt really hopeless. That hopelessness has lingered over the last 4 years, but humanity and love continue to peak through thats just the human spirit & Ive been so inspired by those that stay strong and keep fighting to enact some positive change.

This song is about how the world might seem like its falling apart but we still have love and all we can do right now is take care of ourselves &each other Now during THIS crazy time,I find myself 38 weeks pregnant, waiting in self isolation for my baby to be born, praying that I dont get sick and hoping I go into labor before the hospitals get overrun. Im worried about my baby, In worried about my parents ,I’m worried about everyone.

I know there is so much uncertainty but maybe this song will provide a little comfort, or just remind you that there’s still hope to be had. Sending everyone my love.

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Released March 15th, 2020

LORELLE MEETS THE OBSOLETE – ” De Facto ” Best Albums Of 2019

Posted: March 16, 2020 in CLASSIC ALBUMS, MUSIC
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Perhaps the best thing anyone can do with a legacy is build on it. A change of scene certainly helps to avoid getting stuck in the ever diminishing returns of routine, churning out the same result every time, but with ever less inspiration. So when Lorelle Meets The Obsolete swapped the sprawling chaos of Mexico City for the wide open Baja peninsula, Mexico’s remaining bit of California, it turned out to be a very smart move. The formal inclusion of members of their live band, drummer Andrea Davi, José Orozco on synthesizer and bassist Fernando Nuti, into the creative process broadened the sonic palette still more, with the net result that their fifth album, often a marker by which time only diehards have maintained any interest, is their most fully realised and beautiful to date.

It’s not as if they’ve abandoned their past mind. Wigout wildness is still very much to the fore in “Unificado”, for example, but change is apparent after the crawling menace of album opener “Ana”. “Líneas en Hojas” introduces itself with a bassline on the verge of breaking into “Billie Jean”, gritty guitar lines and pretty distorted vocals before a bright, clear chorus sends a shaft of light and warmth through the clouds. Perhaps the album’s highlight however is the mesmerising “La Maga”, where the gentle rolling shimmer of the opening three minutes shifts into a drifting, sunset glide of undulating keyboards and repeating guitars that build softly on…and on…

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All music by Lorena Quintanilla and Alberto González
All words by Lorena Quintanilla

Lorelle: vocals, electric guitar, synths, combo organ and percussion
The Obsolete: electric guitar, synths, combo organ and percussion
Special guests: Andrea Davi (drums, percussion and vocals), Fernando Nuti (bass and vocals), José Orozco Mora (synths and combo organ)

Recommended if you like: Moon Duo, Death And Vanilla, Psychic Ills.

MICHEAL STIPE – ” Drive To The Ocean “

Posted: March 16, 2020 in MUSIC
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In case you missed it, there’s a really excellent interview Michael did with the Current on the occasion of his 60th birthday and the release of his second single, “Drive To The Ocean,” which is now available at streaming services.

All of Michael’s earnings from sales and synchronization licensing of the song for the first 365 days will be redirected to Pathway to Paris, a non-profit organization dedicated to turning the Paris Agreement into reality through innovative public engagement, cultural events, supporting citizen driven initiatives and cities in developing and implementing ambitious climate action plans.

Watch the video for “Drive To The Ocean” .

Visit michaelstipe.com to download this video, the audio and other bonus items, and donate to Pathway to Paris

SWEET WHIRL – ” How Much Works “

Posted: March 16, 2020 in CLASSIC ALBUMS, MUSIC
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How Much Works

Esther Edquist is Melbourne artist Sweet Whirl. She is also one of the best songwriters you have heard in a very long time. 

“How Much Works” is her debut album proper, after a handful of releases acclaimed by the likes of Gorilla Vs Bear, The Guardian and Clash Magazine. How Much Works arrives fully formed, a classic ten song album from an artist with both a command of history and a drive for new expression.

The album is a beautifully crafted triumph over bleak moments. It’s the love-addled confessions of a seasoned party girl, romantic yet sardonic, a troubadour who sings of the heart with a knowing sense of the timeless victory of song. Esther dissects experiences with wit and depth, emerging as a powerful, indomitable voice.

Musically and lyrically, How Much Works draws on wells as deep as Bob Dylan, Joni Mitchell, Jean-Paul Sartre and Sheryl Crow. It distills personal, reflexive narratives into something universal and wondrous.

Esther plays almost everything on the album, with guitar and therevox from engineer Casey Hartnett (Sui Zhen, Sleep Decade) and drums from Monty Hartnett (Dreamin Wild, Sleep Decade). Fellow Chapter Music recording artist Gregor contributes backing vocals to Make That Up For Me and Conga Line.

Esther has previously served in Melbourne duo Superstar, who released two delay-drenched albums during the mid10s. She has also been a member of Scott & Charlene’s Wedding.

FENNE LILY – ” Hypochondriac “

Posted: March 15, 2020 in MUSIC
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“Hypochondriac” is a buoyant and at times ambient indie-rock ballad, full of loping guitars and criss-crossing drum beats. With a little of TORRES-style slanted vocal delivery and a jammy rock flair, “Hypochondriac” is far more upbeat than the song’s subject matter may suggest. In the bridge, Fenne Lily continually tells herself, “Look alive,” before a chorus and a startlingly pretty key change take center stage. She ends the song with the relatable (especially during potentially overwhelming times such as these) line, “I’m waiting for a moment to stop and not feel so much. My newest single, released via Dead Oceans, is out now Hypochondriac is the title, preoccupation with death is the theme after a while of silence it feels good to be back – I hope y’all enjoy and keep washing your hands.

Light and airy folk-pop from anxious British songwriter Lily who finds herself sick and “freaking out,” while “waiting for a moment to stop and not feel so much.” Play it on a loop while you wait for the same outcome

“Hypochondriac” by Fenne Lily, out now on Dead Oceans.

DOGLEG – ” Melee “

Posted: March 15, 2020 in CLASSIC ALBUMS, MUSIC
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“Melee” is an album that doesn’t strive to fend off anxiety. No, Dogleg are one step ahead of it. Instead of exhausting themselves of doing their best to downplay its exhaustion, the Michigan punk band let all its ugly emotions into their system, do its worst, then sweat it out, and for it, their music is a catharsis for anyone who has walked through a dark day.

It doesn’t hurt that Dogleg are fully capable of burdening themselves with the worry and distress. A bro might recommend working hard and playing harder, but only guitarist and lead vocalist Alex Stoitsiadi, bassist Chase Macinski, rhythm guitarist Parker Grissom, and drummer Jacob Hanlon properly put that into action in their punk-post-hardcore-emo-crossing sound that has been tingling goosebumps among their live revelers these last few years throughout midwest VFW halls and DIY punk fests.

The early spirits of Title Fight, PUP and Joyce Manor’s bottled up emotions come to mind throughout Melee, but so does the Get Up Kids’ “Ann Arbor” bleed right through Dogleg’s hearts in this instance, as the 10 songs that pack in a gut-punch throughout “Melee” come barreling in with reckless choruses big enough to go toe to toe with any depressive episode.

They’re channeled through the elements of polar intensities with “Kawasaki Backflip”, riffs going off the rails as a drunken house party goes on without on “Bueno”, spiraling out in “Headfirst” and “Hotlines” in nihilistic, self-pitying whoas with clocks moving in hyperspeed, or breaking bones and connections on “Wrist.”

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Never once do Dogleg let eve a millisecond pass them by on Melee where they aren’t rapidly cycling the air around them either. While the words may paint a bleaker picture, the rising Michigan four-piece are fully plugged into the game of life and all its stages, slugging it out whole-heartedly. If it all bodies them, at least they went down punching every button hard.. and fast.

Dogleg’s Melee will be released March 13th on Triple Crown Records.

YUMI ZOUMA – ” Truth or Consequences “

Posted: March 15, 2020 in CLASSIC ALBUMS, MUSIC
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New Zealand indie-pop band Yumi Zouma released a new album, “Truth or Consequences“, today via Polyvinyl, their first for the label. Now that the album is out, The band self-produced the album and it was mixed by Jake Aron (Solange, Grizzly Bear, Snail Mail). While formed in New Zealand, Yumi Zouma’s members currently reside in various cities around the world: New York City (Josh Burgess – guitar, vocals), London (Charlie Ryder – guitar, bass, keys), Christchurch, New Zealand (Christie Simpson – vocals, keys), and Wellington, New Zealand (Olivia Campion – drums).

Yumi Zouma shared Truth or Consequences’ lead single, “Cool For a Second,” via a video for the track The album also includes “Right Track / Wrong Man,” a song the band shared back in December. Then they shared another song from the album, “Southwark,” via a self-directed video for the track,

The band released a new EP, EP III, last September 2018 via Cascine Records. EP III was the follow-up to Yumi Zouma’s sophomore album, Willowbank, which was one of our Top 100 Albums of 2017. In May 2019 they shared another brand new song, “Bruise,” that was a standalone single .

VUNDARBAR – ” Out of It “

Posted: March 15, 2020 in CLASSIC ALBUMS, MUSIC
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Boston duo Vundabar (Brandon Hagen and Drew McDonald) released a new album, “Either Light”, today via Gawk Records. On Wednesday they shared one last pre-release single from it, album opener “Out of It.” And then today they shared a video for another song.

Holler Film directed the “Out of It” video, which features the band in the back of a moving car, on a rowboat, and in other situations.

Vundabar will release their new album Either Light the follow-up to 2018’s Smell Smoke, which we called “the intersection of personal and political punk.” The Boston band are sure to deliver more fierce social and introspective rock on their new release, which was produced by Patrick Hyland.

Previously Vundabar shared Either Light’s first single, “Burned Off,” via a playful video for the track. Then the band shared another song from the album, “Petty Crime,” via an amusing self-directed video for the track inspired by The Sopranos. Then they shared another song from the album, “Montage Music,” via a lyric video Either Light the follow-up to 2018’s Smell Smokeand finds the band working with a producer for the first time, Patrick Hyland (Mitski).

Hagen had this to say aboutEither Lightin a previous press release: “The album is about the transitional lightness that follows a period of heaviness. After years of being caught up in a dark period marked by sickness, strife and worry, and using it as the context in which I saw myself, I suddenly found I’d outgrown that story. With that came a feeling of lightness that was opposite the feeling which preceded it.”

‘Either Light’ out March 13th 2020 on Gawk Records

The ALLMAN BROTHERS – Live At The Fillmore East ” March 12th and 13th 1971

Posted: March 14, 2020 in CLASSIC ALBUMS, MUSIC
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Today marks the anniversary of completing the recording of one of the most legendary live albums to ever grace this Earth. When thinking about The Allman Brothers, At Fillmore East is one of the main treasures that comes to mind. The double LP is most tangibly definitive of the band’s authentic sound, giving them both artistic and commercial breakthroughs, and is the kind of record you can spin on a daily basis and still find something to love about it. “At Fillmore East” was recorded over two nights — March 12th and 13th, 1971 — for which the band was paid $1,250 each show. The shows were typical performances for the band, and regarded as slightly above average by drummer Jai Johanny Johanson. Ads for the shows read: “Bill Graham Presents in New York — Johnny Winter And, Elvin Bishop Group, Extra Added Attraction: Allman Brothers. The Allman Brothers Band started out as the opening band for Johnny Winter and Elvin Bishop for 3 nights, March, 11th, 12th & 13th, 1971 at the Fillmore East in New York City.
Although Winter was billed as the headliner, by the third night, the 13th, the ABB were closing the show. On the 12th and 13th, they recorded their shows. The recording would go on to be released as “At Fillmore East”.“The true brilliance of this live recording is in the shorter pieces. The longer pieces (“Whipping Post,” “You Don’t Love Me,” and “Mountain Jam”) have their moments, but those moments are diluted in the self indulgent noodling typical of many 1970’s live performances. If The Allman Brothers Band: The Fillmore Concerts contained only “Statesboro Blues,” “Stormy Monday” and “One Way Out,” it would still have a place as one of the finest live recordings ever released.

“Statesboro Blues” and “One Way Out” have Duane Allman’s dense and precise slide guitar pitted against Richard Betts’ round lead guitar, with “One Way Out” providing Betts with his finest recorded guitar solo. “Stormy Monday” juxtaposes Allman and Bett’s distinct lead styles in an orgy of perfect blues phrasing. Gregg Allman’s jazzy organ interlude is an added delight.”

Tom Dowd produced At Fillmore East; he had previously worked on their second studio album, “Idlewild South”. He had recently returned from Africa from working on the film Soul to Soul, and stayed in New York several days to oversee the live recording.

It was a good truck, with a 16-track machine and a great, tough-as-nails staff who took care of business,” recalled Dowd. He gave the staff suggestions and noted the band had two lead guitarists and two drummers, “which was unusual, and it took some foresight to properly capture the dynamics. Things went smoothly until the band unexpectedly brought out saxophonist Rudolph “Juicy” Carter, an unknown horn player, and longstanding “unofficial” band member Thom Doucette on harmonica. “I was just hoping we could isolate them, so we could wipe them and use the songs, but they started playing and the horns were leaking all over everything, rendering the songs unusable,” said Dowd. He rushed to Duane during the break to tell him to cut the horn players; while Duane loved the players, he put up no fight with Dowd. The final show was delayed because of a bomb scare, and did not end until 6 am.

Each night following the shows, the musicians and Dowd would “grab some beers and sandwiches” and head to Manhattan’s Atlantic Studios to go over the performances. Set lists for following shows were crafted by listening to the recordings and going over what they could keep and what they would need to capture once more. “We wanted to give ourselves plenty of times to do it because we didn’t want to go back and overdub anything, because then it wouldn’t have been a real live album,” said Gregg Allman, and in the end, the band only edited out Doucette’s harmonica when it didn’t fit. “That was our pinnacle,” said Dickey Betts later. “The Fillmore days are definitely the most cherished memories that I have. If you asked everybody in the band, they would probably say that.

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DEAP LIPS – ” Deap Lips “

Posted: March 13, 2020 in CLASSIC ALBUMS, MUSIC
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Deap Lips a collaboration between Flaming Lips and Deap Vally released their self-titled debut LP Friday, and with it the project’s colorful video for their cover of Steppenwolf’s Easy Rider classic “The Pusher.”

Since the Oklahoma City psych-rockers and the Los Angeles rock duo first announced their collaboration in December, the project has released tracks “Hope Hell High” and “Home Thru Hell.”

“I can’t remember exactly when I became aware of Deap Vally… but let’s say it was sometime just before I saw them play,” Wayne Coyne previously said in a statement of the collaboration, which pairs him and the Lips’ Steven Drozd with Deap Vally’s Lindsey Troy and Julie Edwards. “I was in Raleigh visiting with the creator of the World’s Largest Gummy Bear, and so getting to experience Deap Vally was just one more cool thing of many cool things that were happening to me. Deap Vally really rocked the mostly all dude crowd that was there to scream to WolfMother. I met Lindsey that night and we both were glad we met. Deap Vally got my phone number and about a year later hit me up, out of the blue … and invited themselves to come to Oklahoma City and jam with us and maybe come up with a couple songs for their ‘collaboration’ album that they were working on.” Coyne added that their “The Pusher” cover was previously considered for one of Miley Cyrus’ projects with the Flaming Lips but ultimately ended up on Deap Lips.

The Flaming Lips + Deap Vally = DEAP LIPS.

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