Jeffrey Alexander and the Heavy Lidders, Founding member of The Iditarod in 1996, Black Forest/Black Sea in 2003 and Dire Wolves in 2008. Joined JOMF in 2013. Started The Heavy Lidders in 2019. Former label owner of Magic Eye Singles and Secret Eye Records. Also toured with and featured on recordings by Kemialliset Ystävät, Avarus, Es, Fursaxa, Christina Carter, Gravenhurst, Jeffrey Alexander-Andrea Belfi-Stefano Pilia Trio.
Jeffrey Alexander – guitars, vocal Drew Gardner – electric guitar, vibraphone Jesse Sheppard – bass Scott Verrastro – drum kit
w/ Marissa Nadler – backing vocal Rosali Middleman – backing vocal Pat Gubler – vox organ Ryan Jewell – drums, percussion
Known for their relentless touring schedule and DIY work ethic, New Candys is one of the most solid independent bands of recent years. “Vyvyd” follows up on the widely acclaimed third album Bleeding Magenta which saw them tour non-stop across Europe, United Kingdom, North America and Australia.
This album, which will be their fourth, is the first record made by the line-up of Fernando Nuti, Andrea Volpato, Alessandro Boschiero and Dario Lucchesi. It was recorded at Fox Studio in Venice, Italy by Andrea Volpato and mixed and mastered by Grammy Award producers Tommaso Colliva (Calibro 35, The Jesus And Mary Chain) and Giovanni Versari respectively.
“This record has its own mythology. We played with religious, pagan and archetypal symbols, which have been distorted through our lens. If we had to sum up the album in one concept it would be the contradiction of light: God/good is often represented with a bright glow, whilst Lucifer, the personification of evil, means light-bearer. We’ve been inspired by the visionary cinema of Kenneth Anger and Alejandro Jodorowsky among others”.
With a mighty barrage of heavy-hitting guitars and throttling drums come to life in New Candys’ making for an instantly memorable and equally energizing listen. Raw, garage-y, and dynamic in the very best of ways,
New Candys debuted over a decade ago with a gnarly, unapologetic rock ethos that has remained a defining party of their artistry ever since.
Rochester, New York King Buffalo is a psychedelic trio in the classic format, whose expansive and thunderous music is a powerful concoction of heavy psych, blues, and stoner rock. Texturally rich and oozing with psychedelic goodness, yet honed and driving in the next blink of an eye. Their efforts coupled with their impressive live show, quickly gained them an international audience. Sometimes darker and heavier than its predecessors, “The Burden of Restlessness” still has that dreamy, psychedelic quality about it that makes King Buffalo so unique in the world of Rock music. Can’t wait for the other two releases announced for this year!
Released June 4th, 2021
King Buffalo – The Burden of Restlessness Written and recorded by King Buffalo in Rochester, NY at the Main Street Armory in December of 2020 & January of 2021
Initial plans for a reunion of Jimmy Page and Robert Plant were made in 1993, with discussions between the two of collaborating emerging from casual small talk and then an invitation to perform on MTV Unplugged. Music producer Bill Curbishley, who had been managing Plant since the 1980s and who assumed management of Page in 1994, was integral in the reuniting of the pair. Despite failed attempts by others to reunite Jimmy and Robert, Curbishley was able to persuade the previously reluctant Plant into working with Page again.
On 1st May 1995, Page and Plant performed at the Bradley Centre in Milwaukee for a show that was recorded for live FM Broadcast around the greater Wisconsin area, and which proved to be one of the finest on the tour. The gig itself contains many classics and some deep cuts and I’d love to know how Jimmy got Plant to agree to perform the Coverdale/Page track ‘Shake My Tree’.
Featuring a sterling selection of LedZeppelin classics, the odd solo-cut and even a cover of The Cure’s ‘Lullaby’, the show was a roaring success which is available finally for fans to hear via this delightful double vinyl, available now for the first time.
Recorded in the spring of 2010 and then mysteriously abandoned by prince before its release, the statement album “Welcome 2 America” documents Prince’s concerns, hopes, and visions for a shifting society, presciently foreshadowing an era of political division, disinformation, and a renewed fight for racial justice.
The Prince Estate and Legacy Recordings are to issue “Welcome 2 America” a previously unreleased Prince album recorded in 2010. The album was “mysteriously archived” by Prince and features some of his only studio collaborations
The album features some of Prince’s only studio collaborations with the bassist Tal Wilkenfeld, drummer Chris Coleman, and engineer Jason Agel, with additional contributions from New Power Generation singers Shelby j, LivWarfield, and Elisa Fiorillo and keyboardist Morris Hayes, who Prince also recruited to co-produce the album. the vinyl edition has the 12 songs spread across three sides on 2 Lps in gorgeous gatefold packaging, with a custom etching on the fourth side.
A previously unreleased Prince album from 2010, “Welcome 2 America“ is set for release on July 30th via Legacy. Now another song from it, “Born 2 Die,”
The song has a bit of a Curtis Mayfield vibe, which was purposeful on Prince’s part. A press release goes into a bit more detail as to the track’s genesis: “The song was recorded during a flurry of studio activity in the spring of 2010, when President Obama was just a year into his first term and Prince was reflecting deeply on the issues affecting the Black community and the role he hoped to play in the social justice movement.
The deluxe edition of Welcome 2 America combines the 2lp and cd versions of the album with a never before released blu-ray of Prince’s full April 28th, 2011 performance at the forum, part of the Welcome 2 America tour’s historic 21 nite stand in Los Angeles. the show is presented in stereo, 5.1 surround and dolby atmos, and includes 24 tracks from across Prince’s career, from his biggest hits to fan favourites to ten rare covers.
In addition, the deluxe edition features a 32 page 12×12 book, exclusive poster and an embossed vellum envelope of limited edition memorabilia all housed in a luxe, gold embossed package. experienced as a complete package, the deluxe edition provides an immersive view of Prince’s creative genius during his spontaneous, energetic, and thought-provoking Welcome 2 America era.
In terms of chronology, if issued at the time, the album would have sat between 20Ten (2010) and Plectrumelectrum (2014).
The deluxe version of Welcome 2 America will come with a full-length live concert video from one of Prince’s string of 2011 shows at The Forum in Los Angeles during his “Welcome 2 America” tour.
Michelle Zauner returns with her third LP “Jubilee” as Japanese Breakfast but the big triumph and progression here is just all of it. The sound is more saturated, fuller, richer and deeper; it really is a beautifully crafted pop record, ecstatic with subtle hooks.
Michelle Zauner’s anticipated third album is coming out on June 4th via Dead Oceans. The last glimpse of the album we have already had the video for “Posing in Bondage” with Zauner entering an empty grocery store on a hoverboard, covered in blood, where she made an intimate connection with the clerk played by Girlpool’s Harmony Tividad. We never got the answers for her stone cold presence entering that eerie market, or why her chin was stained red, or why that connection with noodles and Tividad was so needed. But now, we do.
Japanese BreakfastMichelle Zauner wanted to find joy with her new album. The singer’s first two records under the moniker have been defined by difficult topics: 2016 debut ‘Psychopomp’ was written during her mother’s cancer treatment, with follow-up ‘Soft Sounds From Another Planet’ created during the aftermath of her death. Both of those albums were created within a wash of psychedelic shoegaze, escaping present troubles in whirlpools of noise and stories from lightyears away.
From the get-go, third album ‘Jubilee’ displayed higher ambitions, both for Zauner personally and in the jubilant music that these messages are transmitted through. “How’s it feel to be at the centre of magic?” she sings amid a euphoric blast of horns on opening track ‘Paprika’, a statement that sets the album’s aims in stone: this is a personal and musical breakthrough from a singer destined for far, far bigger things.
First single ‘Be Sweet’ is a superbly catchy, ’80s-indebted pop smash, written with Jack Tatum from the band Wild Nothing. “I wanna believe in something!” Zauner sings at the end of its triumphant chorus.
Elsewhere, ‘Slide Tackle’ once again employs horns to transmit its euphoric personal breakthroughs, Even when things get musically darker on the shimmering alt-pop of ‘Posing In Bondage’, there remains a prioritisation of pop melody; the fat is trimmed from all 10 songs on the record, leaving perfectly formed three-and-a-half-minute pop songs that want.
The latest single from Jubilee is titled “Savage Good Boy” and comes with an opulent video starring The Sopranos‘ Michael Imperioli. “I want to take care of you,” Zauner sings on the upbeat track. “I wanna make the money till there’s no more to be made.” She sings about wealth and security while draped in luxurious clothing. In one scene, Imperioli and her are playing cards—he wins, and starts rubbing it in her face. The pair feel like a symbol of power; is their relationship built off love? Or, is it the ability to hold power over another when the world is crumbling? “When the city’s under water / I will wine and dine you in the hollows,” she sings later on.
Zauner shared the song’s inspiration in a statement: “‘Savage Good Boy’ came from a headline I read about billionaires buying bunkers. I was interested in examining that specific type of villainy, and I found myself adopting the perspective of a rich man coaxing a young woman to come live with him underground, attempting to rationalize his almost impossible share of greed and miserliness.”
She continued about the video she directed, “I knew I wanted the music video to be a pretty literal interpretation of that idea. I wanted to juxtapose images of this post-apocalyptic, industrial bunker with the lightness and extravagance of rococo fashion and set design. Aiming for that balance, my cinematographer, Adam Kolodny, and I were really inspired by Chan Wook Park’s The Handmaiden, Stanley Kubrick’s Barry Lyndon, and Sally Potter’s Orlando.”
“Savage Good Boy” the new song by Japanese Breakfast from the album ‘Jubilee’, out June 4th on Dead Oceans.
Ambition isn’t something that comes naturally in indie rock; the lingering idea that modesty is the coolest asset you could possess have persisted over the past 20 years, pulling many a band and songwriter back from the brink of fully shooting for the stars. In the future, ‘Jubilee’ may just be seen as a pivotal way station on the road to these ideas being rubbished once and for all.
New 2022 UK tour dates.
25 March – Bristol – SXW 26 March – Manchester – Academy 2 27 March – Glasgow – St. Luke’s 28 March – Leeds – Brudenell Community Room 30 March – London – Kentish Town Forum
Pinegrove have revealed details of a new feature length film, “Amperland, NY”, and accompanying soundtrack album to be released digitally on January 15th and physically on February 26th on Rough Trade. The film, scripted from a short story by Pinegrove’s Evan Stephens Hall and directed by Kenna Hynes, was filmed at the band’s long time home in upstate New York, known as “Amperland” to Pinegrove and their fans, prior to the house being sold by the owner earlier this year.
The film, produced in conjunction with Chromoscope Pictures, and described by Evan as “fun, hopefully poignant, definitely weird ”, includes 22 songs – a full set list length of performances – spanning the band’s entire career to date. Those new renditions of old gems, recorded live in the Amperland house by Pinegrove’s Sam Skinner, will be released as a soundtrack album – also titled Amperland, NY – at the same time as the film. Evan explains the film as “threaded by a surreal, giddy narrative – reimaginings of our songbook and first-time-imaginings of Pinegrovian tall tales.” The band viewed the project as a way of honouring the house that had acted as home, recording studio and important creative haven for their last two albums: Skylight (2017) and Marigold (2020).
Today’s news comes with the release of one of the songs from the project: a new live version of “Morningtime (Amperland, NY)”, which originally appeared on Pinegrove’s 2012’s self-released debut, Meridian, and reissued on Everything so Far (2015).
Pinegrove’s new feature film “Amperland, NY” premieres Wednesday January 13th, and its accompanying album is available Friday Jan 15th: Provided to YouTube by Beggars Group Digital Ltd./Rough Trade Records Ltd Released on: 2020-12-03
Released on Rough Trade Records Ltd
Pinegrove: Evan Stephens Hall , Joshua Marré , Megan Benavente , Nandi Rose , Nicholas Levine, Samuel Skinner
The Beach Boys’ spellbinding 1971 song “Feel Flows” may be the most famous obscure song in the band’s catalogue. Cameron Crowe adopted it for the closing credits of his coming-of-age film “Almost Famous” (soon also to receive a Limted box set release), and it’s also featured on the soundtrack to the new Apple Music documentary “1971“. The Mike Love-led Beach Boys are currently performing on the Feel Flows Tour, and now the haunting 50-year-old tune is lending its title to a hotly anticipated box set that is no longer an “open secret.”
On July 30th, Capitol Records and UMe will release Feel Flows: The Sunflower and Surf’s Up Sessions 1969-1971. This hardcover book-style set, to be released in 5-CD, 4-LP (standard black and translucent blue/translucent gold), 2-LP, and 2-CD editions (as well as digitally), explores in depth what’s perhaps the most adventurous and experimental period in the Beach Boys’ long history. The 5-CD set features fully remastered versions of the original Sunflower (1970) and Surf’s Up (1971) albums – the band’s first two post-Capitol LPs as originally issued Brother Records via Reprise – plus copious outtakes, live recordings, alternate takes and mixes, and more for a total of 133 tracks. Carl Wilson, Dennis Wilson, Mike Love, Al Jardine, and Bruce Johnston were all coming into their own within the group even as Brian Wilson was closing out the band’s “golden age” with stunning songs every bit the equal of his prodigious 1960s output.
The collection includes remastered versions of ‘Sunflower’ and ‘Surf’s Up’ and boasts 135 tracks, including 108 previously unreleased tracks, live recordings, radio promos, alternate versions, alternate mixes, isolated backing tracks and a cappella versions, culled from the album sessions.
The first CD of the box has the remastered Sunflower plus a radio spot, six live performances of the album’s songs (spanning 1971-1988) and eight bonus tracks including the original 1969 single version of the all-too-unheralded classic “Break Away” (co-written by Brian and his father Murry Wilson), a new stereo mix of “Cotton Fields,” additional new mixes of deep cuts familiar to BBs fans such as “Good Time,” “Susie Cincinnati,” and “San Miguel,” and the official debut of the 1969 mix of “Loop De Loop.”
The second disc follows the same format for the remastered Surf’s Up, adding a radio spot, five 1971-1993 live cuts, and a clutch of bonus tracks. The original version of “Big Sur” as well as the Boys’ cover of Jacques Brel and Rod McKuen’s “Seasons in the Sun,” and Brian’s offbeat, horror-aping “My Solution” all make their official debuts. A cover of Don Goldberg’s “Sweet and Bitter” makes its first appearance anywhere. The disc also includes both sides of Dennis Wilson and Rumbo’s rare 1970 single “Sound of Free” b/w “Lady (Fallin’ in Love),” with the latter mix making its official CD debut.
CD 3 digs into The Sunflower Sessions (29 tracks) with previously unissued a cappella mixes, session highlights, and backing tracks. Among them is an extended take of “This Whole World,” an early 1969 mix of the rocking “Slip on Through,” and a new mix of the shimmering “Cool, Cool Water.” CD 4 encompasses The Surf’s Up Sessions (18 tracks plus six bonus tracks). The bonus material is once again choice: the never-before-heard “Awake” (likely the Floyd Tucker song recorded by American Spring with a Brian Wilson arrangement), the official debut of “It’s a New Day,” new mixes of “I Just Got My Pay,” “Walkin’,” and “When Girls Get Together,” the previously unreleased outtake “Baby, Baby,” an extended version of Dennis Wilson’s sublime “(Wouldn’t It Be Nice to) Live Again,” and a long version with alternate lyrics of Brian’s devastatingly beautiful “Til I Die.”
The fifth and final disc in the box has more material sure to set any Beach Boys fan’s pulse racing, including the premiere (bootleg or otherwise) of “Before,” “Behold the Night,” “Hawaiian Dream,” and Brian and David Sandler’s“It’s Natural.” CD 5 also has alternates and isolated mixes plus a demo and new mix of Murry Wilson and Rick Henn’s “Won’t You Tell Me,” a demo of Brian’s “Back Home,” the previously unreleased mix/official CD debut of “Carnival (Over the Waves),” and a piano demo of “Til I Die.”
The 2-LP, 2-CD, and 4-LP iterations have some variations from the 5-CD box set (which will undoubtedly lead some collectors to purchase multiple configurations). The long “(Wouldn’t It Be Nice to) Live Again” appears to be presented in edited form on the 2CD and 4LP sets (4:35 vs. 6:50 on the 5CD). It appears that the “All of My Love/Ecology” medley, “Sweet and Bitter,” and “Awake” all also have shorter running times on the vinyl presentations. There are also some other title discrepancies with the new stereo mixes of “Cotton Fields” and “When Girls Get Together.” The former is labeled 2020 Stereo Mix on the vinyl and 2019 on the CD; the latter is labelled 2019 Stereo Mix on the vinyl and 2020 on the CD. It’s likely that these have just been misidentified and the mixes are one in the same.
The Beach Boys are thrilled to share an unreleased live version of fan favourite “Susie Cincinnati” as the next preview to their forthcoming new box set, “Feel Flows – The Sunflower and Surf’s Up Sessions 1969-1971” due via Capital/Ume. Written and sung by Al Jardine, the rollicking, horn-laden performance of “Susie Cincinnati” was recorded nearly 45 years ago at a legendary stadium concert in Anaheim, Calif. on July 3rd, 1976 that heralded the return of Brian Wilson to the live stage for his first full show with The Beach Boys in many years – part of the “Brian’s Back” publicity campaign that also signaled his return to the studio and the release of the group’s new “15 Big Ones” album, celebrating 15 years of the band.
At this famed concert, The Beach Boys band was augmented with a full horn section and the brass gives “Susie Cincinnati” a whole new edge. Originally released in 1970 as the B-side to Sunflower standout, “Add Some Music To Your Day,” the song was remixed for 1976’s 15 Big Ones.
Produced by Mark Linett and Alan Boyd, Feel Flows has a 48-page booklet featuring photos, memorabilia images, and a new essay by Howie Edelson incorporating new and archival interviews with the band members. The previously unreleased “Big Sur” is streaming now at YouTube and all of the usual services. “Feel Flows” is due from Capitol/UMe on July 30. It looks to be the box set of the summer (naturally). Surf’s up at the links below!
The Beach Boys, “Feel Flows: The Sunflower and Surf’s Up Sessions 1969-1971″ (Capitol/UMe, 2021)
“Every time you’ve been your more authentic self and people like it, that gives you the confidence to be even more authentic the next time and open up a bit more,” Wolf Alice’s Ellie Rowsell said about her evolution as a songwriter earlier this year. On ‘Blue Weekend’, the band’s third album, her latest period of growth presents itself spectacularly – in a series of songs that showcase her best lyrics yet, ones that are, as she suggested, more confident and less guarded.
There are lines on this record that have the power to transport you to very specific places or feel like Rowsell has extracted your soul from your body, put it under a microscope, then handed you a report on her findings. They are particular in the stories they lay out but, within the details, offer places to find yourself and the tales you could tell. It’s a phenomenon that the singer and guitarist references on the piano-led, emotional epic ‘The Last Man On Earth’: “Every book you take that you dust off from the shelf/Has lines between lines between lines that you read about yourself.” Simultaneously, she analyses a compulsion of the human race and offers another opportunity to indulge in it yourself.
The increased openness in the front woman’s words is perhaps no surprise, given the six years Wolf Alice have had since releasing their debut album ‘My Love Is Cool’. In that time, they’ve grown from buzzy newcomers to a bonafide Big Deal, via milestones of success you can’t help but absorb confidence from: breathless praise for second album ‘Visions Of A Life’, a Mercury Prize win for that record in 2018, selling out their biggest headline show to date at London’s Alexandra Palace. Now, they’re making the step up to riotous festival headliners, leapfrogging from topping the bill at the likes of Truck to taking pole position at this year’s Latitude Festival.
‘Blue Weekend’ is a study on relationships – yes, with romantic partners, but also with friends, with yourself and with the world at large. The sparse and minimal heartbreaker ‘No Hard Feelings’ contains evocative scenes within its exploration of a separation. “It’s not hard to remember when it was tough to hear your name,” Rowsell sighs. “Crying in the bathtub to ‘Love Is A Losing Game’.” The song referenced might change for different people, but the feeling that sucker-punches you from within is universal.
If that track takes you into the depths of lovelorn grief, sun-kissed album closer ‘The Beach II’ whisks us off to somewhere much calmer. Here, Rowsell is by the shore, drinking lukewarm “liquid rose” with her mates, but in her narration positions herself as an observer looking on fondly. “The tide comes in as it must go out, consistent like the laughter/Of the girls on the beach, my girls on the beach, happy ever after,” she sings softly. Combined with the gently surging guitars and buzzing synths beneath her, the song captures a moment of magic that makes you feel like you’re hovering above your own memories of the tableau it depicts.
‘Smile’, a self-assured spiritual sister song to ‘Visions Of A Life’s rousing ‘Yuk Foo’, takes its inspiration partially from the response to that second album track, and particularly the line Rowsell screamed in the latter: “I wanna fuck all of the people I meet.” Over crunching riffs, the present-day version of her shoots down the world’s attempts to put her in a box and tell her how she should be. “And now you all think I’m unhinged/Wind her up and this honeybee stings,” she sneers at one point. “Did you think I was a puppet on strings?/Wind her up and this honeybee sings.”
She continues with her resolve to portray herself as she pleases in a way that will likely annoy those who baulked at that ‘Yuk Foo’ lyric. The dreamy, sensual ‘Feeling Myself’ takes on the subject of self-love, Rowsell putting her own spin on the theme of sexual independence: “He’s had so many lovers, don’t think he’s been pleasing anyone/ Doesn’t matter ‘bout numbers/ When it’s breaking news that it takes two to love.” Later, in a blast of confidence, she instructs someone to “keep my name on your lips/Let the double ‘L’ feel like a kiss.” The euphoric, dazzling rush that accompanies the final word is one of the most heavenly moments on an album that’s full of them.
If the singer and guitarist’s song writing has become even more accomplished since Wolf Alice’s last album, then so has her bandmates’ too. ‘Blue Weekend’ is the group’s most cohesive listen, and keeps intact the restless spirit that makes their work so unpredictable and exciting.
On ‘Safe From Heartbreak (If You Never Fall In Love)’, they delve into fingerpicked folk melodies, drummer Joel Amey joining the frontwoman to sing in beautiful a cappella at the track’s end. ‘Play The Greatest Hits’, meanwhile, finds bassist Theo Ellis leading the verses with a rumbling, ominous bassline that drills directly into your bones, before guitarist Joff Oddie slathers urgent walls of noise over the chorus.
Wolf Alice reach the peak of their collective and individual powers on ‘Delicious Things’, the new title-holder for the best thing they’ve ever done. It’s a stunner that goes on a wide-eyed glide around Los Angeles, Rowsell careering through the highs and lows of finding escape in a romanticised city far from home. Her awestruck delivery (“I don’t care, I’m in the Hollywood Hills/I’m no longer pulling pints, I’m no longer cashing tills”) is as intoxicating as the widescreen soundscape beneath her that sends you soaring above the city, Downtown LA poking up on the horizon on one side, the Hollywood sign nestled into the hills on the other.
Towards the end of her adventures, Rowsell is drawn back to normality. “Hey, is mum there?” she asks through crackling production. “It’s just me, I felt like calling.” What goes up must come down, after all, but Wolf Alice themselves are showing no signs of descending any time soon. ‘Blue Weekend’ is another stone-cold masterpiece that further cements their place at the very peak of British music.
Australian hippy rockers Babe Rainbow sing a song for changes. Same sesame funk, new earth. The single “Zeitgeist” is about catching dreams from the clouds and growing up, it’s about the international situation and it’s about chickens. Released digitally on the bands own Eureka Records on followed by a vinyl version through FlightlessRecords
Babe Rainbow release of their anticipated fourth album, “Changing Colours“.
If ever there was a band that could be synonymous with a distinct place and a way of life, it would be Babe Rainbow. The Byron Bay boys craft laidback and languorous grooves that encapsulate the freedom and elation of the surfing and hippy communities that the band come from.
That relaxed and breezy conclave is the closest they can get to the romanticised world of the late 60’s and early 70’s, which their music often sounds like it belongs in: Babe Rainbow have been reviving those psychedelic vibes and folk influences and using them in their own inimitable way over four albums now.
The band travelled to California’s Topanga Canyon to work on the album, working with noted producer Kyle Mullarky (Allah Las, Tomorrow’s Tulips) and perhaps it’s why they sound refreshed here. Everything from baggy rock to disco and funk is explored in the songs, all while keeping the resolutely joyous and breezy atmosphere that they always reside under.
Perhaps the most surprising part is the excellent collaboration on ‘Your Imagination’ with none other than Jaden Smith that Jaden Smith – for the sort of unexpected musical pairing that surely won’t be topped for the rest of the year
Listening to Changing Colours is to wish that it had been released in the middle of 2020, at the height of the claustrophobic lockdowns: the gentle wistfulness and idyllic dreaminess would have been the type of transformative escapism that would have taken any listener back to the beach, the sun, and good memories.
They might go at life at their own unhurried pace but their new record, “Changing Colours”, doesn’t see the band rest on their laurels. While it maintains the mellow melodies of previous releases, there’s now increased experimentation.
