This is the former Rilo Kiley frontwoman’s third solo album & documents her struggle to cope following the death of her estranged father in 2010 and the subsequent break-up of Rilo Kiley. ‘The Voyager’ finds the always relatable songwriter at her sharp-witted best, singing about her experiences with honesty and incisiveness.
The 10th Anniversary reissue of the 2014 album featuring “Just One of the Guys”, “The Voyager”, “She’sNot Me” and more on Translucent Sea Blue vinyl. This is the former Rilo Kiley frontwoman’s third solo album and documents her struggle to cope following the death of her estranged father in 2010 and the subsequent break-up of Rilo Kiley. “The Voyager” finds the always relatable songwriter at her sharp-witted best, singing about her experiences with honesty and incisiveness
“The Voyager’s” 10th anniversary limited edition translucent sea-blue vinyl is available now exclusively in the US at indie record stores!
After a hiatus from touring, Black Pumas returned to the road in 2024 in support of their acclaimed sophomore album “Chronicles of a Diamond. “Live From Brooklyn Paramount” captures the “Electric Church” live experience created by Eric Burton, Adrian Quesada and their six-piece band.
The first single “Know You Better” is out now! You can pre-order the album today on webstore exclusive Sauvignon vinyl (limited to 300 copies), Brooklyn Brownstone vinyl, and CD,
The 2xLP set features songs from both Chronicles and their million-selling debut, including the Grammy nominated “Colors”, “Black Moon Rising”, “More Than A Love Song” & their version of Tracy Chapman’s “Fast Car.”
According to the press release “an incredible feeling of freedom and escapism” dominates the fourth full-length by Welsh electronic music artist Kelly Lee Owens, so the title “Dreamstate” does make a lot of sense. Compared to the experimental 2022 “LP.8” and the slightly darker and also fittingly titled “Inner Songs” from 2020, this new body of work is indeed a bit more euphoric and positive. It’s an album that celebrates the power of the four-to-the-floor beat while also showcasing the artist’s profound songwriting skills. “Dark Angel” does open the album slightly more atmospheric but the title track and its bubbling acid bassline make sure that Kelly Lee Owens’ work is still rooted on the club floor.
The tremendous singles “Love You Got” and “Higher” continue to deliver that hands-in-the-air-euphoria before a few more mellow songs slow the tempo a bit down in the middle of the record.
What I enjoy about “Dreamstate” is not just the wonderful production and the angel-like voice of its creator, but the aspect that it works extremely well as a coherent record.
There’s a flow that combines all these different worlds. Still, I wouldn’t label the record as a pure club album. Sure, there are more straightforward bangers like the terrific “Air” but these songs also work in different contexts. It’s an album full of energy, a battery full of ideas and love. “I do my best to stay open,” she sings on the relaxing “Ballad (In the End)” and that repetitive mantra resonates a lot with me these days, I have to say. With this new album Kelly Lee Owens cements her status as one of electronic music’s finest contemporary players. Björk, Jon Hopkins and Depeche Mode are already fans and I am as well. So, follow the advice of us all and enter a very special “Dreamstate” right here.
Seated stage right at a lone electronic keyboard, for almost the first half of his two-hour set at a busy Alexandra Palace Theatre, Joe Jackson looked a bit like a particularly accomplished busker. Playing in front of a crimson curtain on an entirely unadorned stage, the production was as intimate as it was economical. The sense, though, that this was a one-man band touring the country on the cheap, perhaps in a hire car, didn’t survive the appearance of a nine-piece brass-and-strings ensemble for a second-half run through with a selection of entirely unusual music. In the past, Joltin’ Joe has turned his hands to jazz, soul, pop, rock and classical; these days, however, and with some gusto, he’s trained his sights on early 20th century-style music hall.
As befits this most singular of artists, the show was kind of backwards. In the normal telling, artists of a certain age dispense with their newer material first before rewarding the audience with hits from the past. Up at Ally Pally, though, Jackson unfurled the bangers early doors. “On Your Radio”, “Real Men” and “It’s Different For Girls“, hits from the days when the Portsmouth-reared songwriter was mislabelled an ‘Angry Young Man’, helped bring the crowd to life. Minutes later, the sound of his relentless left hand pumping out the bass line to mega-smash “Steppin’ Out” suggested that time and tide have yet to leave a mark on an artist who recently celebrated 70 circuits of the sun. His voice, too, was in sensational shape.
In lesser hands, the second half might not have worked quite so well as he launched into songs from last year’s album, “What a Racket”, as his fictional alter ego, music hall performer Max Champion. For some, the sight and sound of a tuba player, a flutist, trumpeters, violinists, a double bassist, and more, could have easily been a gear change too many.
But holding court centre stage, dressed in a stovepipe hat and tails, Jackson was a convincing roustabout. At a venue nicknamed “the People’s Palace”, Jackson brought love and expertise to what otherwise might have been a testing second act. Deservedly, before the encore, he and the players received a standing ovation.
Even Joe Jackson, though, isn’t quite bloody-minded enough to leave the stage without a final nod to his illustrious back catalogue. In the past, “Is She Really Going Out With Him?“, his first single, from 1978, has been interpreted in ways that include acapella, pop and a sparse-sounding kind of soul. Never before, though, has it been sculpted in a way that would have been recognisable to music hall stagers such as Millie Lindon and Whit Cunliffe. In his refusal to bow to the powerful gravity of nostalgia, as he finished his night’s work, Jackson deserved the applause that rained upon him.
“Heavy Lifting” is the new studio album by Detroit’s punk rock pioneers, MC5! Led by founding member Wayne Kramer and produced by the iconic Bob Ezrin, “Heavy Lifting” signifies a momentous occasion – the release of new MC5 music, a staggering 53 years since their last album “High Time” in 1971! The release signifies a momentous occasion – the release of new MC5 music, a staggering 53 years since their last album in 1971. The music community recently mourned the loss of MC5 founding member Wayne Kramer and Dennis ‘Machine Gun’ Thompson, the last members of the original MC5 line-up, accompanied by messages of love from the world’s greatest rock stars. MC5’s enduring influence and cultural significance are solidified by their induction into the Rock and Roll Hall of Fame in 2024.
In a completely unexpected turn of events, legendary garage punk originators MC5 (Yes that MC5!?! Yes, the recently totally deceased MC5!?! Yes THAT MC5) return with a new album “Heavy Lifting”, . Expect guitar led madness and classic Detroit punk played by the last remaining (until recently) member Wayne Kramer and a cast of rock royalty.
“Heavy Lifting” features an all-star line-up of guest musicians including Slash, Tom Morello, WilliamDuVall (Alice in Chains), Vernon Reid (Living Colour), Tim McIlrath (Rise Against), and many more!
Now available as a limited-edition bundle, including the bonus album “10xMC5 Live”, with rare, unreleased recordings from the MC50 tour celebrating 50 years of “Kick Out The Jams”!
After the success of his recent album “66”, Paul Weller releases 4 sublime new songs on the “Supplement: 66” EP. The tracks on “Supplement: 66″ were recorded at Paul’s own Black Barn Studios and serve as a loving nod to his past while also embracing his continued growth as an artist.
All tracks were produced by Paul Weller and feature most of the Weller band plus Max Beesley on vibraphone, folk legend Danny Thompson on double bass and original Jam member Steve Brookes on guitar. Esteemed folk singer/songwriter Kathryn Williams takes lead vocals on the haunting closer ‘So Quietly,’ which she also co-wrote.
French modern psych band La Femme is switching things up for their sixth album, “Rock Machine”: it’s the first one they’ve recorded in English. It’s also a bit of a departure in terms of genre; though it’s rooted in synth overall, the album explores many different corners of the rock genre. Less “cohesive album” and more “weird sonic journey that we’re absolutely here for,” “Rock Machine” is a singular album from a band that has consistently defined categorization.
On their first album totally written in English, French electronic pop band La Femme accompany the romantic lyrics with a wider, complimentary set of influences. This, their sixth album, balances the synth-heavy, elegant new wave of their debut with an ecstatic mix of disco, British punk, and surf rock.
As a band, Ireland 6 piece Silverbacks are restless, eager to move onto the next thing: 3 albums in 4 years is evidence of this. That their fizzing, rock-addled songs rarely pass the 4 minute mark is further proof.
Irish rock band Silverbacks are doing pretty nicely, thank you. They are all settling down with singer Daniel O’Kelly even making Paris his home. All that doesn’t mean that their music has gone soft. They still have a bit of Fontaines DC about them on this third album and their sound is proudly (slightly) sloppy indie-rock with nods to Pavement and Guided By Voices.
Silverbacks album number 3 ‘Easy Being A Winner’ is out October 18th on Central Tones.
The Fat Angel Sings 