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Best Coast have always been a delightful embodiment of catharsis. The California rock duo of Bethany Consentino and Bobb Bruno have been rattling off intensely personal guitar pop songs since their 2010 classic debut “Crazy For You”, but their new album, “Always Tomorrow”, out now via Concord Records, provides a different kind of catharsis.

A decade ago, Best Coast were the definition of a hype band. Every cool blog was raving about them, they had A-list actors in their music videos, they toured the world and even Cosentino’s cat became famous. But beyond their sun-soaked, emotional indie rock songs and cloud of fame, Consentino was having trouble dealing with success. After their 2015 album California Nights, she isolated herself, feeling miserable and creatively uninspired. But then a song fell out of her, which became the golden ticket she needed. It was called “Everything Has Changed,” and it envisioned a healthier version of herself, one that was much more in tune with her physical and emotional needs.

In late 2017, she decided to make that song a reality by becoming sober. Her creative gears eventually began to turn again, and she brought in guitarist Bobb Bruno to write songs with her for the first time. He sent music for her to write to, and four of his songs ended up on their new album Always Tomorrow. Ultimately, it’s a record about embracing your full self, flaws and all, even if it’s for the first time—in Cosentino’s case, she feels like she’s finally found herself at the age 33.

I didn’t want to write a song about you, yeah/ In case it was too good to be true” is a genius opening line to a song (True), with its multiple meanings and reflexive ironies. You can hear that Bethany Cosentino is proud of it, because she really drags out its delivery, almost to the point that its punchy brilliance is lost. What’s disappointing about Best Coast’s first album in five years is that not much else feels as shocking or powerfully true.

This is Cosentino’s first set of sobriety songs, but not enough of the shame or damage that must have attended her decision to give up drinking informs the duo’s politely executed indie rock. “If everything’s OK/ Then what the hell do I complain about?”, from the outstanding song Everything Has Changed, says it all. Written at one of Cosentino’s low ebbs, tormented by writer’s block and booze, it flags an issue that is wrestled with yet never resolved by this solid but unchallenging album. Great art doesn’t have to come from a place of great discomfort, but it often helps. Always Tomorrow always chooses cosseting its audience over confronting more painful truths.

Best Coast recently released “Different Light,” the opening track from duo Bethany Cosentino and Bob Bruno’s fourth studio album, “Always Tomorrow”. One of the most-anticipated albums of this month, Always Tomorrow follows Best Kids (2018) and California Nights (2015). It was produced by Carlos de la Garza (M83, Paramore) with assistance from Justin Meldal-Johnsen.

Best Coast performs “Different Light” LIVE at Phaser Control Recording Studio in San Diego, California for a 91X X-Session.

new album ‘Always Tomorrow’ out February 21st, 2020:

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Columbus, Ohio, four-piece Snarls have shared a new track, “What’s It Take,” from their forthcoming debut album Burst, due out on March 6th via Take This to Heart Records. “What’s It Take” is the kind of lustrous, yearning indie anthem that could only come from a group of bright young minds. Lyrically, it’s an emotional hurricane with Chloe White’s forlorn lyrics exploding into their guitar shimmers.

The song melds widescreen dream-pop with sputtering background guitars as White’s rich vocals hover in heartbreakingly beautiful fashion.

Band Members
Chlo White – Vocals, Guitar
Riley Hall – Bass, Vocals
Mick Martinez – Guitar
Max Martinez – Drums

Snarls – “What’s It Take?” From their upcoming album “Burst” Out March 6th via Take This To Heart Records

The new solo project of Joseph D’Agostino, formerly of Cymbals Eat Guitars (which broke up in 2017). His self-titled album as Empty Country is due out April 24th via Get Better and this week he shared another song from it, epic six-minute album closer “Swim.”

D’Agostino had this to say about the song in a press release: “SWIM = Someone Who Isn’t Me. It’s a character sketch, as many of the songs on Empty Country are. The narrator is a composite of several people I met or observed while living in Kensington, a neighborhood in Philadelphia gravely affected by the ongoing opioid emergency in the United States. One day my wife Rachel pointed out in passing that some of our neighbors had old faces. She didn’t mean ‘old’ in the sense that they were aging prematurely (though some certainly were), but that they had the faces of Dustbowl-era farmers we had seen in books and films. I began imagining a young man suffering from temporal dysphoria (feeling that one was born into the wrong era and strongly identifying with a bygone time), drinking and otherwise numbing himself to tamp down overwhelming anemoia and sadness. Robbing condos freshly erected in adjoining neighborhoods. Doing harm. Blacking out, driving drunk, hurting those he should love, but simply cannot. Dreaming of leaving forever the bricky mazes of row homes that open into wide empty avenues.”

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Released by: Get Better Records

Empty Country was originally due out last week on Tiny Engines, but when that label came under scrutiny due to late royalty payments to Adult Mom and other artists, D’Agostino decided to find a new label and delay the release to April.

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Brigid Mae Power’s stunningly beautiful latest solo full-length – and Tompkins Square debut – is an album drenched in reverb-soaked emotion and lament. Enchantingly performed and produced, the record showcases a songwriter of immense talent in a soundscape that naturally merges itself to Brigid Power’s engulfing sound. The magic lies in the songwriter’s expression of raw emotion, in all its delicate beauty. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. The album is about “trusting if you lose yourself or your way — you can come back.”

Such is the album’s timeless brilliance, the nearest parallels that can be drawn to Power’s quietly unassuming, divine artistry are those blessed folk spirits of bygone times such as Sibylle Baier, Tia Blake or Margaret Barry. As reflected in the lyrics of closing heartfelt lament of ‘How You Feel’, this deeply personal and intimate set of songs become a place of hope and solace where the path laid out in front you is filled with the light of day and sea of love.

Ireland’s Brigid Mae Power (fka Brigid Power Ryce) released her first album under her current name and first for the esteemed Tompkins Square Label last month. Brigid’s a new-ish artist, but her music recalls the type of forgotten-then-rediscovered ’60s/’70s folk artists that Tompkins Square often reissues music by, like Bob Brown and Michael Chapman. Brigid played accordion, baritone ukulele, piano and harmonium on the album, and her talents are even more fleshed out by the production work of Peter Broderick (Efterklang, Horse Feathers). She’d played shows with Peter and also collaborated with him live, and eventually ended up in his studio in Oregon to record the new album.

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All the arrangements give the album a gorgeous backdrop, but it’s Brigid’s voice that drives this thing home. She’s similar in approach to Jessica Pratt or earlier Angel Olsen, with a sound that really taps into what made that ’60s/’70s era so great without sounding retro. The album’s opening (and longest) song, “It’s Clearing Now,” nears eight minutes and never really drifts from its somber tone, and Brigid has enough command over it to keep it from ever getting boring

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With producer Andrew Sarlo (Bon Iver, Big Thief, SASAMI) at the helm, Wilsen’s new album “Ruiner” dissolves both the heavy reverb and ethereal moments found on their first recording by instead letting the band’s essentials – drums, bass, guitar, and vocals – have centre stage. In the album’s opening moments, you might hear a knotted wash of guitars and Wilson (Tamsin Wilson – the singer) softly humming, for a very brief moment returning you to their dreamscape but sharply, a driving rock rhythm comes into focus and so too does a revitalised band.

“Making this record was somewhat of a coming of age process,” Wilson explains,“We’re getting older and becoming more deliberate, less precious, less measured. Overthinking less and trusting instincts.”

Brooklyn-based trio Wilsen are today sharing the follow-up to their debut album I Go Missing In My Sleep. They’re back with Ruiner, a record that singer Tamsin Wilson described as going through a “coming of age process.” “We’re getting older and becoming more deliberate, less precious, less measured,” she said in a press release. “Overthinking less and trusting instincts more.

Wilsen new album “Ruiner”

Chris Cohen has plied the inside and outside folds of pop musical possibility since at least 1978, when he first set infant drumstick to skin at the tender age of three, initiating decades of sonic experimentation across multiple bands and nearly a dozen recordings. Chris Cohen’s songs initially sound easy. They’re each tiny jewels that unfurl at a leisurely pace, but dig a little deeper and you’ll reach a melancholy core

Chris Cohen, releases his third solo album, it was written and recorded in his Lincoln Heights studio and at Tropico Beauties in Glendale, California over the course of the last two years. Cohen would sing melodies into his phone, fleshing them out on piano, then constructing songs around the melodies, and later, adding lyrics and other instrumentation with the help of Katy Davidson (Dear Nora), Luke Csehak (Happy Jawbone Family Band), Zach Phillips, and saxophonist Kasey Knudsen, among others. It is his most straightforward album yet, but it is also the conclusion of an unofficial cycle that began with Overgrown Path.

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CC is my favourite. His songwriting and voice and arrangements are so delicate. The drumming is so pure and jazzy, and it has some very fun lyrics and themes. ‘Making grilled cheese for dinner in an RV by the sea’.

“Sweet William” is the third single from Chris’s Cohen self-titled album, out March 29th, 2019.

New project from Ripley from Wooden Ships / Moon Duo. Jean Sandwich Records is pleased to announce the first, self-titled, album from Oregon’s Rose City Band. Born of the back roads, rivers, and quiet city streets of Oregon, the music captures the feeling of living and loving, riding and crashing and being, in the Pacific Northwest, circa 2019. It’s the sound of Sunday morning strums and Saturday night choogle.

Produced and recorded by Ripley Johnson in Portland, and mixed by Chris Cohen, the album finds its niche in the hazy sonic landscape of private press country and psych records, and alongside artists like Relatively Clean Rivers, Jim Sullivan, Kenny Knight, and countless other explorers of the pastoral underground

Rose City Band, led by Erik “Ripley” Johnson of Wooden Shjips, excels in reproducing for his own composition, seven wide open easy-going tracks as close to instrumental were it not for the whispering lyrics punctuated by Neil Young harmonica solos or downright ethereal guitar lines- cooing your mind to the waving lengths of ceiling textures and wallpaper patterns.

Jean Sandwich Records is pleased to announce the first, self-titled, album from Oregon’s Rose City Band, along with the album’s first single, “Rip City,”  Born of the back roads, rivers, and quiet city streets of Oregon, the music captures the feeling of living and loving, riding and crashing and being, in the Pacific Northwest, circa 2019. It’s the sound of Sunday morning strums and Saturday night choogle.

Ripley describes the album this way:
“The band was aiming to capture a timeless, natural sound, not quite of the present, past, or future, but phasing in between the consciousness of now and the stoned dream-state of the eternal. Sort of a back porch jam just as the shrooms are starting to kick in. Handmade and human, but also cosmic and transcendental. But the goal is to let the music speak for itself and hopefully find a weird and wonderful audience somewhere out there.”

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Released May 24th, 2019

The fourth album from HTRK, the duo of Jonnine Standish and Nigel Yang, arrives five years on from 2014’s Psychic 9-5 Club. While some much-loved HTRK hallmarks remain—the combination of space and intimacy, the unmistakable interplay between Yang’s guitars and Standish’s vocals—“Venus in Leo” differs markedly in its energy, returning to HTRK’s underground rock past with the stylistic playfulness and variety of a modern mixtape.

Over the soft strums of acoustic guitar, the album’s introduction, “Into the Drama,” posits a theory that “what was once considered self-sabotage could be revisited as being under the influence of Venus in Leo,” Standish explains. Finger-picked guitar loops rise slowly and fall over a cold, brittle beat. Previously released lovesong “Mentions” finds Standish exploring the lack of physical intimacy in the social media age. Elsewhere, there are emotional highs, like on the kaleidoscopic single “You Know How to Make Me Happy,” which details a suspended state of ecstasy, Standish commending her partner’s conscious efforts to prop her up with compliments. “New Year’s Day” traces a flimsy resolution to get healthier, instantly busted by an evening of debauchery, recalling “the worst possible start to the year with bad friends and bad behavior.” The silver lining is the sunrise: “pink, red, orange, white, peach” Standish repeats as the track laps with a velvety, hypnotic refrain.

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Archetypal themes emerge as the band explore the makings of personality. Standish revisits her childhood home in a recurring dream (“Dream Symbol”), a doomed first kiss (“New Year’s Eve”) and high drama (“Venus in Leo”). Recorded more or less live in HTRK’s home studio in the Dandenong Ranges outside of Melbourne, the album’s simple production reveals gorgeous, toned-back arrangements and an evolving, idiosyncratic songcraft.

It’s been ten years since HTRK released their breakthrough first album, Marry Me Tonight. The band has undergone profound changes, with the first two albums released amid the deaths of close friend and collaborator Rowland S. Howard and HTRK co-founder Sean Stewart. Psychic 9-5 Club set them on a path of self-discovery, and Venus in Leo marks a spirited new chapter by one of the most distinctive bands of the past decade.

released August 30th, 2019

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Mega Bog is the fluid musical moniker of songwriter Erin Elizabeth Birgy, who has spent the last ten years channeling, capturing, and releasing her unique bouquet of fragrant, sci-fi pop experiments with a handful of bicoastal collaborators. She is joined on her fifth and finest album (and first for PoB) by members of Big Thief, Hand Habits, and iji, who help her spin a manic web of emotions into beautiful, abstract future poems and thrilling genre perversions.

With echoes of Laurie Anderson, Slapp Happy, Kevin Ayers, Bridget St John, Beefheart, Bowie, Cate Le Bon, Ursula K. Le Guin Prismatic. It’s avant-pop that balances warbling melodies with unexpected bursts of frenetic energy. ‘Diary of a Rose’ is a lush representation of Birgy’s ability to evoke warmth and nostalgia while keeping her gaze to the future. 

It joins Weyes Blood’s Titanic Rising and Big Thief’s UFOF as one of 2019’s left field pop gems, a record created with no detectable consciousness of a wider scene but with a bedroom-wide sense of possibility. Birgy’s songs are tangles, unconcerned with hooks, verses, choruses, while floating melodic ideas are addictive precisely because they don’t repeat but play themselves out then disappear. Part prog, part easy listening, warm and engulfing… a shimmering chiaroscuro [of] fully fledged delicious pop. “Dolphine” pulls off the trick of making the small scale feel all-encompassing. 

Sonic fantasia from a poetic mind… a whimsical and devastating cosmic journey through loss and healing. It’s part folk-rock fantasy, part avant-pop mind trip, and all gorgeous. With lush sonic layers that are alternately raw and delicate, Dolphine translates as a series of dream worlds where the confessional meets the fantastical, and lost ones live forever.

The weirding way got weirder,” Erin Birgy sings, sounding like Nico at her spookiest, a lovely summation of her beguilingly crooked guitar playing. Fans of Cate Le Bon, look sharp. Somewhere between the mystical landscapes of prog rock and the familiar breeze of easy-listening radio… It sounds something like the ‘energize’ effect on Star Trek as transposed for a jazz band … the music is vast and refined, hinting at chaos but never quite losing control. The band is equally adept at sweeping you away and pulling you in. A lounge track for the lobby of a passenger ship floating through space, Mega Bog’s ‘Truth in the Wild’ toys with the earthly and the cosmic.

Frontwoman and multi-instrumentalist Erin Birgy guides listeners on a mystical adventure. It’s Absurdly good.

She blurs the lines between the surreal and the profound in a way that she seems able to do like none other… “Diary of a Rose” is a stunning introduction to the new record, a jazzy/breezy gem with vaguely sinister undertones, teeming with Birgy’s unforgettably peculiar and vivid lyrical phrasing and the kind of deceptively labyrinthine melodies and slithering guitar lines that made the band’s last LP Happy Together such a compelling, unsung masterpiece and one of the best records of the last half-decade.It’s spectral, at times suave and smooth, and baroque. She’s not quite like anybody else.

Mega Bog’s “Dolphine” was released June 28th, 2019 on Paradise of Bachelors.

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Mark Lanegan, the former Screaming Trees frontman and monumental voice has a new
solo album ready called “Straight Songs Of Sorrow”. Here’s the excellent lead single ‘Skeleton Key’. An extended, haunting ballad with an instant hypnotic effect. It’s a self-blaming, melancholic and heavy-hearted reflection. “Ugly, I’m so very ugly inside and out, there’ no denying, why should you love me”. Even after all these years when I hear Lanegan’s vocal I get goosebumps. Strangely enough, the darkness he always creates feels comfortable and inspiring. Another stunning achievement by the genuine troubadour.

When considering any great work of art, be it a painting, a novel, or a piece of music, it’s natural to wonder what might have inspired it: ‘the story behind the song’. Mark Lanegan’s new album flips that equation. Here are 15 songs inspired by a story :Lanegan will be issuing his book of memoir’s called ‘Sing Backwards And Weep’ out this spring.

Following the success of last year’s ‘Somebody’s Knocking’ LP, Mark Lanegan has announced the news of his new solo album, ‘Straight Songs Of Sorrow’, released 8th May via Heavenly Recordings. The album, which is closely aligned to his forthcoming memoir, “Sing Backwards And Weep”, features guest appearances from Greg Dulli, Warren Ellis, John Paul Jones, Ed Harcourt and others.

Straight Songs Of Sorrow combines musical trace elements from early Mark Lanegan albums with the synthesized constructs of later work. The meditative acoustic guitar fingerpicking – provided by Lamb Of God’s Mark Morton – on Apples From A Tree and Hanging On (For DRC) echo 1994’s Whiskey For The Holy Ghost. Yet one of that record’s touchstones was Van Morrison’s Astral Weeks, echoed in the new album’s openerI Wouldn’t Want To Say, where Lanegan extemporises *à la Ballerina over musique concrète wave patterns generated by his latest favourite compositional tool, a miniature computer-synth called the Organelle.