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On Record Store Day (April 21st), BMG Records will release The Undertones – Singles, a 13 x 7” vinyl box set featuring every single released by the band between 1978-1983. Currently commemorating the 40th anniversary of their classic debut single, ‘Teenage Kicks’, The Undertones are one of the best bands to have come out of Northern Ireland. Taking youth adoration from glam-rock and giving it the stripped-down simplicity and energy of punk, the band created 3-minute punk-pop gems that sound as vital today as they did 40 years ago.

The Undertones – Singles features such memorable songs as ‘Teenage Kicks’, ‘Jimmy Jimmy’, ‘Here Comes The Summer’ and ‘My Perfect Cousin’, all cut from original analogue tape transfers on 40g vinyl and includes the original single artwork replicated, a ‘Teenage Kicks’ original poster single and additional poster with photos and notes by The Undertones along with track by track comments from bassist Michael Bradley.

“The collective attitude of The Undertones to the magical power and influence of the humble 45rpm 7” single was always one of total reverence and respect. It really did matter. Back then in our Undertone world, a great single was even more important than the LP it helped promote and getting on Top of the Pops was the ultimate accolade that we were doing it right. And if you didn’t make it on TOTP, then there was always the next single,” says guitarist Damian O’Neill. “Listening again to these 13 A and B sides, I hear a great pop group who tried their best to be true to themselves and ultimately didn’t disappoint.”

Lydia Loveless, Julie Byrne, Eva Salina, Sera Cahoone and Western Centuries are just a handful of the 19 musicians featured on the latest compilation of sessions recorded for Folkadelphia, a weekly folk show produced at WXPN and recorded in the World Cafe Performance Studio in Philadelphia. Since 2008, Folkadelphia has been hosted and produced by Fred Knittel. Each week the show explores the music makers in the world of folk, broadly defined. The sessions are the cornerstone of the show and feature Americana, country, bluegrass, singer-songwriters, and “folk adjacent” musicians old and new, ranging from the fringe to the familiar to the freaky.

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Folkadelphia Sessions Volume V includes some beautiful performances like “Black River” by Sierra Hull accompanied by Ethan Jodziewicz on bass and Justin Moses on banjo and vocals, the hypnotic, finger-picking “Green Mountain Road” by Brooklyn singer-songwriter Katie Von Schleichter and Adam Torres and the longing intimacy of “Yr Undertaker” by Shannen Moser.

Folkadelphia Sessions are completely free, just enter $0 when prompted. Any donation you give on their Bandcamp site will be used to help us bring you more exciting projects & developments from Folkadelphia!

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Even though Animal Flag have been making music since 2009, it’s best to think of the Boston-based band’s new album, VOID RIPPER, as a beginning rather than a continuation.

For starters, it’s the first release from the band’s current lineup — but perhaps more importantly, it’s another entry in Animal Flag’s continual reinvention. “I tend to think of music and the music I’m apart of as an album-by-album endeavor,” frontman Matthew Politoski says. “Each one is its own thing that creates a universe.”

 

Heavily influenced by folk artists like Sufjan Stevens and David Bazan, Politoski’s meditative musical voice gives Void Ripper an introspective aura that counters the heavy rock influences of his bandmates. To that end, the album is all at once intimate and expansive, booming alternative rock often shrouded in dark undertones and the occasional electronic flourish but colored with introspective soul-searching themes.

Animal Flag “Why” from the album Void Ripper

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Alone on the road for nearly two months, B.J Barham pieced together a different lineup, steadily accumulating ideas for new songs at the same time.

“I don’t have a side trade,” he says from his home in North Carolina, where he’s taking a rare break from the road in anticipation of his baby daughter’s birth. “I write songs, I travel around, and I play them for people. Those are the only things I’m good at. When you have a mass exodus, like five of your best friends leaving the band at the same time, you don’t have time to throw yourself a pity party. My wife didn’t let me do that, at least. She gave me a couple days of thinking, ‘Woe is me,’ and then I was back at the grind, figuring out how to put another band together. I found a group of guys who were inspired to be on the road, and that inspired me as a songwriter.”

When Barham wrapped up his solo tour and returned to North Carolina on the Fourth of July, a new lineup awaited him, along with a new muse. Things Change, his first record featuring the revised American Aquarium arrives June 1st and dives into the political rift that’s split the country into warring factions – particularly in the American South, where B.J Barham has lived his entire life.

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On the record’s kickoff single, “Tough Folks,” he traces his family’s history through years of tobacco farming, economic depression, perseverance and rebirth. Along the way, he tackles President Trump’s election, neither condemning nor condoning the people — including the 2,362,631 North Carolinians who helped vote him into office — whose views differ from his own. Like the rest of Things Change, “Tough Folks” offers hope and positivity, positioning both as antidotes for the modern-day blues.

“The whole purpose of that song is perseverance,” he explains. “Growing up, most of my town was based on agriculture. When agriculture was taken away, some people bitched about it, but some people found alternate ways of making a living and feeding their family. You’ve gotta find a way to get through it. The line I’m particularly proud of is, ‘Last November, I saw first-hand what desperation makes good people do.’ Don’t get me wrong – there are some pieces of shit that voted for [Trump] – but there’s a lot of good, working people that voted for him.

American Aquarium is
BJ Barham – Vocals, Guitar
Shane Boeker – Lead Guitar
Joey Bybee – Drums
Ben Hussey – Bass
Adam Kurtz – Pedal Steel Guitar, Electric Guitar

With special guests
Byron Berline – Fiddle
John Fullbright – Piano, Clavinet, Mellotron, Guitar, Vocals
John Moreland – Vocals
Wes Sharon – Percussion
Dan Walker – Organ, Accordion
Jamie Lin Wilson – Vocals

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There isn’t much known about Black Moth Super Rainbow frontman Tobacco. There’s his government name, Tom Fec. A few photos if you want to Google, most of them in a mask. He’s done enough interviews where he patiently breaks down the creative process and the ideas espoused, but has mostly resisted the soul-snuffing admissions expected from contemporary musicians. In that vein, he’s closer to a Boards of Canada, DOOM, or Aphex Twin—periodically visible but opaque—emotional but unwilling to exploit the self-mythology and cult that cropped up around him.

Acclaimed by critics, although most have been left bewildered by it, Black Moth Super Rainbow is clearly doing something right as the tour with Nine Inch Nails goes to show. Although doing a split with Nine Inch Nails synth man Allesandro Cortini probably didn’t hurt. The split in question contains tracks ‘Baby’s In The Void’ and ‘Ipermercato’. The former is streaming now, and is a low fi, 80’s retro, synthwave hybrid.

from the upcoming album “Panic Blooms” out May 4th on Rad Cult Records

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Wilco’s debut album, A.M., was released 20 years ago .

A.M. is the debut album of Chicago based alt-country rock band Wilco, released on March 28th, 1995. The album was released only months after the breakup of Uncle Tupelo, another alt-country band that was the predecessor of Wilco. Prior to the release of the album, there was debate about whether the album would be better than the debut album of Son Volt, the new band of former Uncle Tupelo lead singer Jay Farrar. Only days after the breakup, Tweedy had decided to form a new group. He was able to retain the lineup of Uncle Tupelo sans Farrar, and rechristened the new band as Wilco.

In mid-May, the band began to rehearse songs in the office of band manager Tony Margherita, and hired producer Brian Paulson, who produced Anodyne. Wilco first recorded demo tracks for the album at Easley studio in Memphis, Tennessee in June. Stirratt recommended the studio based on previous experience as a member of The Hilltops, and Jeff Tweedy had heard of the studio through a Jon Spencer Blues Explosion recording. Reprise Records, a subsidiary of Warner Brothers, signed Jeff Tweedy after hearing the tapes, and recording for the album continued through August.

Although A.M. was released before Son Volt’s Trace, critical reviews were modest and initial sales were low. The album was later regarded as a “failure” by band members, as Trace became a greater commercial success. It was the band’s last album to be recorded in a purely alternative country style, as following the record the band began to expand their sound across multiple genres. It is also the only Wilco album to feature Brian Henneman of The Bottle Rockets as a lead guitarist. Recorded June–Autumn in 1994 . Brian Henneman had to leave the band shortly after recording the album, and was replaced by former Titanic Love Affair guitarist Jay Bennett. Jeff Tweedy also attempted to create a more collaborative environment than Uncle Tupelo, requesting songwriting contributions from other members. John Stirratt submitted three songs, hoping to become a secondary songwriter for Wilco. However, although the songs were recorded as demos, only one (“It’s Just That Simple”) was selected to appear on the album, and was the only Stirratt song to appear on any Wilco album.

The album’s title is intended to reference Top 40 radio stations, and the tracks reflect a straightforward country-rock sound. The band members felt that they needed to establish themselves outside of the Tupelo fanbase. However, Tweedy later stated that in actuality, they were “trying to tread some water with a perceived audience.” Tweedy wrote a song about the Uncle Tupelo breakup, but decided that he didn’t want any material on that subject matter to appear on the album (It can be argued, however, that first single “Box Full of Letters”, as well as “Too Far Apart” allude to the dissolution of Farrar and Tweedy’s friendship and working relationship.) Tweedy attributes some of the straightforwardness of the album to his use of marijuana at the time. Shortly after the album, Tweedy stopped smoking pot, to which he credits the introspectiveness of further albums.

Wilco began touring before the album was released. Their live debut was on November 27th , 1994 at Cicero’s Basement Bar in St. Louis, a venue where Uncle Tupelo had first received significant media attention. The band was billed for that concert as Black Shampoo, a reference to a 1970s B-movie, and the show sold out.  Wilco continued to tour for two hundred shows, culminating in show at the South by Southwest Music Conference in Austin, Texas in March 1995. A.M. was released on Reprise Records on March 28th, 1995.

Covers EP recorded February 2018 with guest appearances from Bonnie “Prince” Billy, Daniel Martin Moore, Julia Purcell, and Doug Paisley. Covering Nick Drake can be tricky, but Joan Shelley manages just fine with her gorgeous, heartfelt rendition of Five Leaves Left’s lead off track . She doesn’t do anything radical with the song — she just lets it breathe, wearing its wistful melancholy like a favorite winter coat. Joan Shelley is back on the road this year, for a few dates, she’ll be supporting the guy who played lead guitar on the original “Time Has Told Me” — the mighty Richard Thompson himself, who has been known to cover the tune from time to time. Maybe Joan can coax him onstage for a duet.

100% of sales from the EP on Bandcamp will go to the Kentucky Waterways Alliance. This exclusively digital album is also paired with a limited edition print set, whose proceeds also benefit the organization. The print sets were illustrated by Lettie Jane Rennekamp, and printed by Patrick Masterson Letterpress.

Sincere thanks to the musicians who volunteered their time and talent to this project. Also thank you Jessica George of RPM for coordinating and motivating, Lettie Jane Rennekamp for contributing her drawings and the title, Patrick Masterson Letterpress Printing, Catherine Irwin, Glen Dentinger, Mike Quinn, Jessica Kane, and everyone at the Kentucky Waterways Alliance for their vital work.

Released March 28, 2018

Drums – Sean Johnson 
Bass – John Pedigo (except track 1, Bass – Kevin Ratterman)
Guitars – Joan Shelley & Nathan Salsburg

All songs arranged by Joan Shelley 

Hey Love is the third single to be lifted from the forthcoming album Wild Notion. It has that 1960’s girl band vocals blended with alt rock guitars and if The Concretes were shoegaze orientated they may have well sounded like this. The two b-sides are not bad either. The previously unreleased You Don’t Tell Me sounds like a Twisterella outtake whilst the band’s cover of Jane Wiedlin’s Rush Hour sounds as poppy as the original. Hey Love was available as a limited edition cassette but it’s now sold out so give it a isten here.

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Written and performed by Night Flowers

Zola Jesus’ Okovi: Additions LP offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists.

Johnny Jewel turns “Ash to Bone” into a late-night cinematic torch song, Tri Angle composer Katie Gately’s “Siphon” is a dark choir of warping angels, black metal band Wolves in the Throne Room turn “Exhumed” makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares’ Aaron Funk) makes “Soak” feel like an aching classical standard— until it starts warping in on itself and goes somewhere else entirely.

“The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.”

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“These four new songs were intended to be on Okovi,” Nika Roza Danilova explains. “Each of them represents a snapshot of my journey in making the record, and are just as precious to me as the songs that made it onto the final track listing. The remixes are beloved in their own way, as most were born from organic circumstances, and have drawn the original songs into completely new atmospheres.”