On December 8th we’ll be releasing the live album “Faces From The Masquerade”, capturing performances from our 2022 tour. These tracks capture some of our best-ever shows, and we’re excited for you to experience them, either for the first time or as a return audience!.
In March of 2022, Car Seat Headrest brought their “explosive” live show to Brooklyn Steel in New York in support of their 2020 LP ‘Making a Door Less Open.’ Across three back to back nights, the band played revved up versions of tracks spanning their extensive back catalogue. On December 8th, CSH will release a collection of recordings from those performances which includes fan favourites “Beach Life-In-Death,”“Crows”, “Something Soon,” and “Drunk Drivers / Killer Whales.”
Taken from ‘Faces from the Masquerade’ the new live album by Car Seat Headrest, released on December 8th, 2023 by Matador Records.
A double album’s worth of live performances that finds Car Seat Headrest at their most playful, exuberant and precision honed. The title alludes to the by now familiar, custom-made gas mask worn by frontman Will Toledo at shows, complete with an expressive LED display for eyes. In addition to the group’s four core members – Toledo, guitarist/backing vocalist Ethan Ives, bassist Seth Dalby and drummer AndrewKatz – they were joined on the tour by keyboard player Ben Roth.
The Violent Femmes debut dropped a day after “Murmur” by R.E.M, and what a week for young hipsters with stereos. “Blister in the Sun,” “Add it Up, “Prove My Love” and “Gone Daddy Gone” are immortal folk-punk anthems, utterly irresistible. Violent Femmes may have been the third-best album of 1983, after “Murmur” and Michael Jackson’s “Thriller“, although the annual Pazz & Jop poll put it at 26.
The new 3LP+7″ Expanded 40th anniversary edition of Violent Femmes’ self-titled debut featuring the remastered album, plus B-sides, live sessions, and rare demos. Housed in a lift-top box with die-cut darkened window detail revealing the box contents, the set includes three 180-gram LPs plus a replica 7″ single, along with a book featuring new liner notes by journalist David Fricke and interviews with the band. Includes the classic anthems.
Teeming with teenage angst, punk sensibilities, and Violent Femmes’ own special brand of jittery folk-rock, the trio’s self-titled 1981 debut Violent Femmes became a cult favourite. Featuring the anthems “Blister in the Sun,” “Please Do Not Go,” “Gone Daddy Gone,” and “Add It Up.” This expanded 40th anniversary edition features a trove of rare demos, live tracks, and more.
Larissa Sapko had set two goals for herself in the summer of 2013: find a job, and start a band. Once she got a job, the band wasn’t far behind. She asked her friend Kian Sorouri if he would like to play guitar (he did), and he in turn asked Jim Dobrowolski if he would like to play drums (he learned how, and he did). What It Is came out in December 2013, and Loose Tooth enjoyed a year of playing local shows and weekenders in the Northeast.
After hearing that Jimmy was moving to Costa Rica, Christian Bach and Kyle Laganella stepped forward and volunteered their shredding skills to keep Loose Tooth moving up and onward. After reworking their first EP What It Is and writing some new songs in the process, the band’s debut record “Easy Easy East” was ready to rip.
After touring on “Easy Easy East” throughout 2015, the band came together to start writing their follow up record “Big Day”. The songs on “Big Day” developed a more cohesive feeling as the four became more comfortable playing together. “Big Day” is out on Father/Daughter Records and Lame-O Records.
Bob Dylan took his Rough and Rowdy Ways tour to Murat Theatre in Indianapolis for night one of two in The Hoosier State. During the initial stand, Dylan and his band treated the audience to a first-time cover of John Mellencamp’s original, “Longest Days.” The song initially appeared on the “Jack and Diane” singer’s 2008 release, “Life, Death, Love and Freedom”. The choice cover was a geographical homage to the writer, Mellencamp, who was born in Indiana. Bob Dylan, who turned 82 in May, has been defying expectations for so long that, at this point, when he does something conventional, it’s actually unconventional.
In fitting fashion for this tour, Dylan relied heavily on delivering material from his latest project, his 2020 set for which the run is named, but not before dipping back into the archive and starting the evening on “Watching the River Flow” and “Most Likely You Go Your Way and I’ll Go Mine.” Next, he turned to recent material, adding “I Contain Multitudes” and “False Prophet.” Next, the musical bard added fan favourite “When I Paint My Masterpiece,” which rolled into “Black Rider” and “My Own Version of You.”
Taking the eighth slot on Monday night’s setlist was “I’ll Be Your Baby Tonight,” which preluded “Crossing the Rubicon” and “To Be Alone With You.” “Key West (Philosopher Pirate)” unfolded before “Gotta Serve Somebody” and “I’ve Made Up My Mind to Give Myself to You.” Dylan segued into a trio of covers next, including Johnny Mercer’s “The Old Black Magic,” which arrived prior to the debut Mellencamp moment. Audio of the first-time take on “Longest Days” was uploaded to YouTube.
As has been a trend on the road, Dylan nodded toward long-forgotten days touring alongside the Grateful Dead, reprising their original tour anthem: “Truckin’.” Monday night’s frame continued with “Mother of Muses” paired with band introductions and a return to music on “Goodbye Jimmy Reed” and “Every Grain of Sand,” which saw the troubadour pick up the harmonica and add some breathy blows into the instrument–which marked the end of the concert, sans encore.
The following night, Tuesday, October 17th Dylan returned to the hollowed concert location, picking up night two in the same vein as the night prior. During the show, Dylan once again added “That Old Black Magic” paired with the Mellencamp cover. Rather than proceed with the Dead’s “Truckin’,” Dylan swamped in another tune that’s been making its rounds on the road: Chuck Berry’s “Nadine (Is That You?).”
October 16th, 2023
Set List: Watching the River Flow, Most Likely You Go Your Way and I’ll Go Mine, I Contain Multitudes, False Prophet, When I Paint My Masterpiece, Black Rider, My Own Version of You, I’ll Be Your Baby Tonight, Crossing the Rubicon, To Be Alone With You, Key West (Philosopher Pirate), Gotta Serve Somebody, I’ve Made Up My Mind to Give Myself to You, That Old Black Magic (Johnny Mercer), Longest Days (John Mellencamp)#, Truckin’ (Grateful Dead), Mother of Muses, Goodbye Jimmy Reed, Every Grain of Sand+
The 8th studio album by The Dollyrots who are, without a doubt, pop-punk’s most adorable family unit. Made up of wife-and-husband team Kelly Ogden (bass, vocals) and Luis Cabezas (guitar), and their ever-rotating cadre of temporary drummers, The Dollyrots release their seventh studio LP “Night Owls” on Wicked Cool Records. The latest record from The Dollyrots finds the band dishing out their usual chunky power chords with killer pop hooks, but with a touch more maturity than their previous albums. That sounds strange considering that big, silly songs are a staple of any Dollyrots album, but, on “Night Owls”, even a goofy song like “Hot Mom With the Skinny Pants On” demonstrates something deeper, namely a yearning for new friendships as an adult, which many people find to be elusive.
I really liked the new album. I think it feels like your most mature album, in a way. Which is weird, because I feel like silly fun is a big part of any Dollyrots album. But even the silly stuff just feels like it’s coming from a deeper place.
Wicked Cool Records is a Garage Rock label founded by Steve Van Zandt in 2005. It originated from Van Zandt’s weekly syndicated radio show, Little Steven’s Underground Garage. Recognizing that some of the best Rock and Roll was not receiving the support it deserved, Wicked Cool Records emerged. With an incredible roster of bands including The Chesterfield Kings, The Len Price 3, The Woggles, and more,
Performed by The Dollyrots (Kelly Ogden and Luis Cabezas) Background Vocals: River Ogden Cabezas, Daisy Moon Cabezas, John Fields Keys, Programming, Percussion & additional Bass: John Fields & Luis Cabezas Drums on Track 6: Justin McGrath
Well, there’s hope for us all I suppose. In 1972 Alex Chilton, Chris Bell, Jody Stephens and Andy Hummel made one of the greatest guitar-pop records of all time with Big Star‘s ‘#1 Record’ and for at least twenty years everybody ignored it. Timing was probably one of their issues – too late to be filed alongside The Beatles and The Byrds, too early for the ’60s revivalism of the mid ’80s headed up by the likes of R.E.M. Still, alongside probably-even-better follow-up ‘Radio City’, it eventually found its audience and now appears in a new edition for its 50th anniversary.
It takes a lot of gusto to name your debut album “#1 Record”, but when you’ve got it you’ve got it. Big Star broke through the Memphis scene they came up in and made a bona-fide masterpiece right out of the gate. It was the first power pop album to really hone in on the groundwork The Who had laid down the decade prior, and you can feel just how magnetic the songs would remain for years to come. The singular balladry of “Thirteen,” the raucous, raw energy of “In the Street,” the magic of “The Ballad of El Goodo”—Alex Chilton, Chris Bell and company were on another level. “#1 Record” would go on to influence artists like The Replacements, R.E.M. and Nick Lowe and cement its place as the primitive power pop LP. They’d come roaring back two years later with “Radio City“, building on their already masterful oeuvre.
The moment you’ve been waiting for is here – “Tomorrow’s Fire” is out now. The newest album from Squirrel Flower is an absolutely massive rock record that cements Ella Williams as one of indie rock’s finest songwriters.
One truth I can offer today is this: Squirrel Flower makes massive tunes. Between lead single “Full Time Job” and our song of the summer “Alley Light,” there’s no other way to describe Ella Williams’ artistry. Now, she’s given us access to “Intheskatepark,” a woozy, noisey heater that’ll burn through your bones. I can’t even begin to stress just how nuts the melody on this thing is, as Williams never overextends herself vocally. She arrives here with patient, angelic singing backed by thick, sludgy guitars. It’s not so much a grunge tune as it is soaring alt-rock glossed with candied delicacy. Can you believe this isn’t even the best song on Williams’ upcoming album “Tomorrow’s Fire?” It’s wild to see a masterpiece unfurl one chapter at a time.
Ella Williams’ slow burn indie folk project, Squirrel Flower is embarking on an epic new era with the announcement of “Tomorrow’s Fire” – out October 13th! With a renewed confidence as a producer,
Williams helmed “Tomorrow’s Fire” at Drop of Sun Studios in Asheville alongside storied engineer Alex Farrar (Wednesday, Indigo de Souza, Snail Mail). Williams and Farrar tracked many of the instruments, building the songs together during the first week, and then assembled a studio band that included Matt McCaughan (Bon Iver), Seth Kauffman (Angel Olsen band), MJ Lenderman, and Dave Hartley (The War on Drugs) lending their contributions. With two singles released so far – “Full Time Job”, “When a Plant Is Dying” – we are salivating to see what October holds. In the meantime, check out Squirrel Flower’s performance alongside her full band at Chicago’s Novelty Golf!
Produced by Ella herself at Drop of Sun Studios in Asheville alongside storied engineer Alex Farrar (Wednesday, Indigo de Souza, Snail Mail), The new Squirrel Flower Album Released! October 13th!
Allah-Las are ready to blow your mind! Dive into the mesmerizing soundscape of the California psych-rock band that defies conventions and undergoes symphonic metamorphosis after every release, resulting in a diverse discography that keeps listeners moving and grooving. The quartet’s upcoming album,’ Zuma 85′, is a tracklist of new sounds; drawing from an eclectic mix of obscure ’60s garage-rock, Japanese pop, and trippy kosmische, landing the band in uncharted musical territory they’ve not covered before.
As the glammy, electronic strut of the song indicates, “Zuma 85” signals the start of a new era for Allah-Las, and finds the band reinventing itself in defiance of the algorithmic categorization and robotic sterility. Recorded in the midst of the shift from the Old World to whatever branch of reality we’re on now
Allah-Las’ music rides the crashing waves of surf rock that swirl and froth with the ’60s psychedelia that will transport you to an untamed yet beautiful sun-soaked landscape, the perfect sonic getaway for a chill November night.
The album cover features a photo of an abandoned house by California photographer John Divola, it juxtaposes a visage of man-made chaos against the natural beauty of the West Coast. It served as an unspoken reference point for the album, a symbolic totem indicative of a new era. A decade and a half into our run we continue on an evolutionary path and appreciate all of the support over the years!
“Strays II” expands on Margo Price’s 2023 opus Strays with nine brand new songs, all recorded at Strays producer Jonathan Wilson’s Topanga studio during the same life-changing sessions as the rest of the album– and partially written amidst the formative, six-day psilocybin trip that Margo Price and JeremyIvey took the summer prior.
On “Strays II” Margo Price is re-joined by Strays collaborators Jonathan Wilson and Mike Campbell, along with new collaborators Buck Meek of Big Thief, and singer-songwriter and multi-instrumentalist NyOh.. Together they dive deeper into the sacrifices it takes to find freedom, the grit it takes to make it, and the consequences that come with all of it.
Margo Price’s take on classic sounds is at once familiar and daring, an infectious blend of Nashville country, Memphis soul, and Texas twang.
The Fat Angel Sings 