Chuck Prophet and the Mission Express’s first proper live album was originally available on CD at the merch table on their 2023 EU tour. Like the cover says, it was recorded on the band’s Bobby Fuller Died For Your Sins tour in Paris, France and the band is on fire.”
Chuck Prophet and the Mission Express’ first proper live album originally only available on CD on their 2023 EU tour.
This was recorded on the band’s Bobby Fuller Died For Your Sins tour in Paris, France and the band is on fire. There is a very limited number of CDs and 2xLPs available today on Bandcamp. Once these are sold, they will be gone for good.
Torres is back with “I got the fear,” the new single from her forthcoming album “What an enormous room” is Torres’ sixth studio album (her third with Merge). The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.
Scott had this to say about the song in a press release: “A collective dread has been mounting. Everyone I know is having a brawl with the universe, with themselves…wars, climate catastrophe, a pandemic, the worldwide regression on human rights, the political hellscape—it affects everybody, and I know we’re all feeling it in waves of varying degree all the time. I think it’s really important that we find a way to get our hopes back up. I’m here to try to help light the way if I can. Most days I really believe humanity will find a way. But there’s a nagging anxiety that maybe that won’t happen. One has to wonder if it’s a self-fulfilling prophecy that a species that believes it’s doomed will doom itself.”
releases January 26th, 2024
Mackenzie Scott: vocals, guitar, bass, synth, organ, piano, drum programming Sarah Jaffe: bass, drums, synth, organ, piano Additional synth bass, shakers, and tambourine by TJ Allen
It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC.
“What an Enormous Room” is out January 26 on Merge Records
A mix of memories, music, and inspiration from Wilco front man and New York Times bestselling author Jeff Tweedy.
What makes us fall in love with a song? What makes us want to write our own songs? Do songs help? Do songs help us live better lives? And do the lives we live help us write better songs?
Following publication of Let’s Go (So We Can Get Back) and How To Write One Song, both New York Times bestsellers that cemented and expanded his legacy as one of America’s best-loved performers and songwriters, Jeff Tweedy is back with another disarming, beautiful, and inspiring book.
Featuring over fifty songs that have both changed Jeff’s life and influenced his music —including songs by the Velvet Underground, Joni Mitchell, Otis Redding, Dolly Parton, and Billie Eilish—as well as thoughts on Jeff’s own songs, World Within a Song asks why do we listen to music, why we love songs, and how music can connect us to each other and to ourselves.
Angie McMahon impressed in the summer of 2019 with the raw and gritty “Salt” and does so again with the much fuller and more versatile “Light, Dark, Light Again”, on which she once again impresses as a singer and as a songwriter I was certainly charmed by Angie McMahon’s debut album in 2019, but I can’t remember the album causing as many goosebumps then as the reacquaintance earlier this week. Angie McMahon has not made Salt 2.0 with “Light, Dark, Light Again”, but opts for a more versatile, fuller and more polished sound. It all sounds great and once again the Australian musician impresses with her passionate vocals. It may take some getting used to, but the songs on “Light, Dark, Light Again” are so good. Angie McMahon was still a bit of a rough diamond in 2019, but shines brightly on her new album.
It’s been more than four years since Australian musician Angie McMahon made her debut with the excellent Salt. It was an album full of rough guitar lines and remarkably passionate vocals and it was also an album with intense songs, which sometimes rattled pleasantly, but usually grabbed you roughly by the throat. It is an album that could count on very positive reviews in the summer of 2019, but that was hardly to be found in the annual lists at the end of that year.
When I picked up the album again last week, I was surprised that “Salt” didn’t make it to my annual list in 2019, because what a great album it is and how Angie McMahon interprets her songs with a lot of feeling and passion on her ultimately somewhat underrated debut album. In 2020, another EP was released with a number of tracks by “Salt”, but with only a piano and the voice of the Australian musician and that also tasted like much more.
We had to wait quite a long time for that lake, but this week Angie McMahon’s second album was finally released. After I had fallen under the spell of the incomparable “Salt” last week, I started Angie McMahon’s second album with high expectations and “Light, Dark, Light Again” certainly did not disappoint me. And that’s despite the fact that the musician’s second album has become a completely different album than “Salt” or the “Piano Salt” EP.
“Light, Dark, Light Again” opens with an almost overwhelming sound, which, apart from Angie McMahon’s powerful voice, hardly reminds us of her debut album. It is a fully coloured sound, which is supplemented with nature sounds. They also appear in the second track, but this time they have opted for a slightly more subdued sound with both piano, guitars and synths. When the guitars start to sound grittier, you can hear some tentative echoes of Salt, but compared to the debut album of the Melbourne musician, Light, Dark, Light Again sounds fuller and richer and also a lot more varied.
It took me a while to get used to it after the recent listens to Salt, but I was quickly impressed by Angie McMahon’s new sound. The Australian musician has coloured her songs fuller, but also very tastefully and still has a quirky indie sound, which fits well with the indie pop and indie rock of the moment. The musician from Melbourne has once again written a series of personal songs, which she interprets with heart and soul. The vocals sound a bit less rough than on “Salt”, but also the vocals on “Light, Dark, Light Again” come in pretty hard.
Angie McMahon recorded the basis of her new album in her home base of Melbourne, but then moved to Durham, North Carolina, where she worked with renowned producer Brad Cook (Waxahatchee, Snail Mail, Jess Williamson, Indigo De Souza), who brought a number of top musicians to his studio. “Light, Dark, Light Again” sounds a lot more produced than “Salt”, but it is a beautiful production, which provides Angie McMahon’s songs with a more varied sound, which can gently caress the ear, but fortunately the music of the Australian singer-songwriter can also occasionally go off the rails.
With a new EP and a follow-up single “Grab the Wheel” released since this summer, young L.A. rockers Milly are winding up a big national tour with a show at the Lodge Room on Wednesday, Nov. 8. Toner and Rocket open the night. Milly is a rock band from Los Angeles fronted by songwriter and multi-instrumentalist Brendan Dyer. Their sound melds together elements of classic shoegaze, slowcore, and lo-fi indie rock, coalescing into an intense, singular musical impression. Milly began as Dyer’s home recording project in his hometown of Bristol, Connecticut before finally taking its current formation as a live band in Los Angeles.
the new single, “Grab The Wheel”, out now on Dangerbird Records.
Christine McVie is being celebrated with the release of remastered versions of her final two solo albums. Two of the beloved singer-songwriter’s work as a solo artist were reissued on November 3rd, 2023: 1984’s self-titled “Christine McVie” and 2004’s “In the Meantime” have been released on CD and LP via Rhino.
From the original July 12th announcement (on what would have been her 80th birthday): McVie’s solo journey began in 1970 with her debut, “Christine Perfect”, her maiden name. Soon after its release, she put her solo career on hold when she joined Fleetwood Mac as a full-time member. For the next 14 years, she wrote some of the band’s biggest hits “Don’t Stop” and “You Make Loving Fun” before releasing her second solo album “Christine McVie” in 1984. The record produced two Top 40 hits on the Hot 100, “Got a Hold on Me” and “Love Will Show Us How” . The album has been unavailable on vinyl since its original release.
Although McVie semi-retired from Fleetwood Mac and public life in 1998, she continued to write music. In 2004, she returned with her third and final solo album, This re-release of Christine McVie’s 1984 solo album features some of the most evocative songwriting of Christine’s career. Produced by the legendary Russ Titelman (Rickie Lee Jones, Eric Clapton), the album boasts guest appearances from fellow Fleetwood Mac members Lindsey Buckingham and Mick Fleetwood and contributions from Steve Winwood and Eric Clapton.
“In the Meantime”. McVie produced the album with her nephew, Dan Perfect. The album was remastered and remixed for the upcoming release, including the previously unreleased outtake, “Little Darlin’.” “In the Meantime” has never been available on vinyl until now. The 2-LP set features a “songbird” etching on the final side.
McVie was involved in the creation of the new Atmos mixes for “In the Meantime” before she died in November 2022. In the liner notes, Dan Perfect writes: “When my aunt Christine McVie died unexpectedly last year, plans were already afoot for the re-release of this solo album, which is perhaps her most personal and intimate project. Chris and I had been working for some time on remixing the original tracks in Dolby Atmos, and Chris was excited and intrigued by this process, which was bringing fresh life and contemporaneity to the songs… I dearly wish that she could have lived to see this re-release as she would have been delighted.”
Mick Fleetwood, the legendary drummer and co-founder of Fleetwood Mac, paid tribute to his bandmate on her 80th birthday with a touching new instrumental version of “Songbird” featuring ‘ukulele virtuoso Jake Shimabukuro.
Got a live album out next month! MJ Lenderman ‘And The Wind“Live and Loose!” was recorded at sold-out summer 2023 shows at Chicago’s Lincoln Hall and the Lodge Room in Los Angeles. The full album is out November 17th digitally via @antirecords and on cassette via @dearliferecs. The first track + live vid by @half_state @jakenokovic for “You Have Bought Yourself a Boat” is out now.
releases November 17th, 2023
MJ Lenderman – Vocals and Guitar Xandy Chelmis – Pedal Steel Ethan Baechtold – Bass Jon Samuels – Guitar Colin Miller – Drums Karly Hartzman – Vocals on “Toontown” Guest appearance on “Long Black Veil” by Styrofoam Winos
Recorded live at Lincoln Hall in Chicago, IL and Lodge Room in Los Angeles, CA
Following on from the release of their fifth album, ‘Neanderthal Jam’, West Australian boogie masters DATURA4 are back with “Invisible Hits”, an album collecting unreleased out-takes and selected tracks that were not previously available on vinyl. This superb collection of brilliantly crafted songs, is only available on LIMITED CLEAR BLUE VINYL!
“If you were lucky enough to grow up in the 60s and 70s, you know that the music coming out at that time had a certain vibe. We’re not talking about the bubble-gum pop that was prevalent on the AM stations of the day. This is that blues based, uber-overdriven, gritty sound that blasted on many a stereo. Australian rockers Datura4 have captured not just the sound, but that whole atmospheric ambience.” – AMERICAN BLUES SCENE
Datura4 released through Alive NaturalSound 2023-11-03
Sonic Youth“Live at Rockpalast”, Dusseldorf, Germany, 1996, Released as a double Box Set: DVD & Audio CD, Sonic Youth is an American alternative rock band from NewYork City, formed in 1981. In their early career, Sonic Youth was associated with the No Wave art and music scene in New York City. Part of the first wave of American noise rock groups, the band carried out their interpretation of the hardcore punk ethos throughout the evolving American underground that focused more on the DIY ethic of the genre rather than its specific sound. As a result, some consider Sonic Youth as pivotal in the rise of the alternative rock and indie rock movements.
All songs written by Sonic Youth“Live at Rockpalast” – Dusseldorf, Germany (Apr-07-1996)
Setlist: 00:00 Teenage Riot 07:45 Bull In The Heather 10:38 Starfield Road 13:30 Washing Machine 23:00 Junkie’s Promise 27:30 Saucer-Like 31:42 Becuz 38:01 Sugar Kane 46:14 Skip Tracer (additional lyrics by Leah Singer) 50:19 Skink 54:58 The Diamond Sea
Brighton-based Falmouth garage rockers Holiday Ghosts announced a brand-new album ‘Absolute Reality’, back in April 2023 via FatCat Records (TRAAMS, Honeyblood, The Twilight Sad, We Were Promised Jetpacks), the band shared the rollicking lead track ‘Vulture’, .
Arriving hot on the heels of acclaimed 2022 EP ‘Credit Note’, ‘Absolute Reality’ tackles different themes of social commentary, with fiery lyrics and hard-picked guitars, holding both honest confessions and tall tales, lived stories and movielike landscapes. Bringing the noise and texture that Holiday Ghosts love from New York punk and the new wave era, ‘Vulture’ cements their status within today’s alt-rock scene.
Between their last album ‘North Street Air’, to the present day of ‘Absolute Reality’, Holiday Ghosts have rocked iconic stages throughout the UK & Europe, from Latitude Festival to Left Of The Dial, from Dot to Dot to ‘Misty Fields’ from the Pyrenees mountains to the chapels of Chester. They’ve shared stages with acts including Black Lips, Bodega and The Bug Club, attracted widespread praise across the press landscape (The Guardian, Stereogum, Brooklyn Vegan, KEXP, DIY, So Young, The Line Of Best Fit, Clash, Gigwise), and clocked-up live sessions/interviews aplenty on BBC 6Music with key tastemakers such as Steve Lamacq and Marc Riley.
“Falmouth’s finest blend primal garage rock, rock’n’roll, DIY punk, blues and giddy exuberant tunefulness” The Guardian
“Holiday Ghosts’ scrappy, snappy rock & roll feels almost timeless” KEXP
“Rough-hewn jingle-jangle with a heartwarming feel” Clash
Speaking ahead ‘Vulture’ single release, Holiday Ghosts’ Samuel Stacpoole revealed: “This song has had two lives. I remember playing it a lot five or six years ago on acoustic guitar as a kind of spaghetti western instrumental. It was half the speed and really atmospherically menacing. I’ve lost interest in musically pretending that I’m in a western movie now. When reimagining this track I’d been obsessively listening to the first The Cure compilation ‘Boys Don’t Cry’ and Young Marble Giants/Weekend. That style of production which has so much emphasis on space really got under my skin”.
