Melkbelly sculpts their signature balance between subtle melody and frantic noise on new album “Pith”, their second for Carpark Records/Wax Nine. The Chicago-based foursome has made spatial dynamics central to its arrangements, reaching for weirder highs and more startling atmospherics, negative space giving way to enveloping walls of chaos. This sense of form is reflected not only in the purposeful production, but in the ceramic cover art created by Chicago artist Deborah Handler. Since their 2017 debut Nothing Valley, the members of Melkbelly have an even better understanding of their sonic motivations. “We’re always going to sort through the past to make better sense of the present,” Miranda says, and in doing so Melkbelly continually finds ways to mutate its sound. On Pith, Melkbelly sought space, and succeeded in crafting it. What a pleasure to be let in. 

Recording in two short sessions six months apart, the band worked with long time collaborator Dave Vettraino, this time at Bloomington, Indiana’s Russian Recording. Alongside an arsenal of rock gear and airy synth layers coaxed from a Moog Prodigy, “Pith’s multidimensionality was refined by the studio’s collection of rare Russian tube mics, which were placed in every corner to capture Melkbelly’s unabashed loudness. Frontperson Miranda Winters’ charmingly bright vocals are newly effected, delayed to a menacing, mysterious thickness. Guitars, handled by Miranda and Bart Winters, interlock and separate with dizzying ease, riffs dissolving into floating trails and reappearing with metallic edges. Bassist Liam Winters’ low grooves bounce and kick along with drummer James Wetzel’s rhythmically unsettling performance, which stretches time yet never falters.

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On “Pith”, Melkbelly’s second full-length, the Chicago foursome refine their knotty but melodic noise rock. Singer-guitarist Miranda Winters calls out from murky depths, conjuring memories of loss, anxiety, frustration, and occasional bliss. On standout track “THC,” the band slowly cranks up the tension until it erupts into an onslaught of guitar fuzz. Melkbelly rarely stays in one place for long, whiplashing from one fractured groove to the next, always finding new ways to shift from quiet to explosive. 

Recorded at Russian Recording in Bloomington, Indiana, Released April 3rd, 2020

Miranda Winters – Guitar, Vocals
James Wetzel – Drums, Moog, STS
Bart Winters – Guitar
Liam Winters – Bass Guitar
All songs written by Melkbelly
Lyrics by Miranda Winters

Magik Markers  distinguished themselves in the early 2000s with unfettered noise jams and a merch table so teeming with CD-Rs, tapes, and LPs as to render the idea of a coherent discography faintly obsolete. The New England trio led by singer/guitarist Elisa Ambrogio has slowed down and tightened up considerably as of late. Their first album in seven years is their most finely honed, though it is still rumpled in all the right places. With creaking Crazy Horse guitar solos, basement-Sabbath sludge, and A Thousand Leaves-rustling mysticism, “2020” finds clarity in controlled chaos, an eye in the year’s hurricane.

 All of the complexities of a world’s collapse in a blissed out, horribly gentle, rugged, ragged rock n’ roll album. Rock back and forth as you hum these songs through a muddled shaken voice.

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Released October 23rd, 2020 Drag City Inc

After living his whole life in New York, Jeff Rosenstock moved to L.A. while making this one, and that’s reflected not just on the album artwork but in the sound of these songs. This sounds more like a ’90s California pop punk record than anything else Jeff has made as a solo artist, and Jeff knows how to recreate ’90s California pop punk in a way that sounds tasteful and fresh. “No Dream” might be the most wall-to-wall fun album Jeff has released under his own name — almost all the songs are short, fast, punchy, and Jeff even writes “we hope it makes you feel good” on his Bandcamp — but like his last few albums, it’s fun music with a purpose. It may sound like classic pop punk but the lyrics are never carefree or juvenile or any other negative stereotype associated with the genre. “No Dream” is an angry, socially conscious record that tackles Trump’s immigration policies, capitalism, hypocrisy, and other topics in a way that’s smart, incisive and avoids cliche punk sloganeering. No Dream makes you feel good, but it also makes you think, and as has been the case with Jeff’s last few records, I have a feeling it’ll keep making you think as time goes on. His music has an immediacy and instant adrenaline rush to it, but it also has layers buried deep within the songs that reveal themselves over time. I can’t claim to have cracked the surface just 48 hours after the album came into our lives, but I already can tell there’s a lot to dig into on No Dream, and that it’s gonna be worth it.

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For many years, Long Island DIY pop-punker Jeff Rosenstock has been writing urgent, biting, extremely catchy songs about smart-phone anxiety and late-capitalist collapse. The message hasn’t changed, but the substance seems to get more urgent all the time, and so does the music. Rosenstock and his furious Death Rosenstock band recorded No Dream live to tape, all the better to capture the euphoric energy of their live shows, and the album bursts with hooks and ideas. It ends with “Ohio Tpke,” a masterfully Springsteenian six-minute lament about how road life can destroy you. I bet Rosenstock misses it so bad right now.

NO DREAM is the 4th studio record from the Death Rosenstock band full of chords, words, beats and more! Tracked live in a big room for that classic “is that a mistake?” sound by Grammy-nominated recorded “Grammy Jack” Shirley, you are GUARANTEED to have not heard this record before you’ve listened to it! We hope it makes you feel good, but if it doesn’t, that’s on you sorry.
Released May 20th, 2020
The Band:
JOHN DEDOMENICI – BASS
KEVIN HIGUCHI – DRUMS
MIKE HUGUENOR – GUITAR, VOCALS
DAN POTTHAST – ACOUSTIC GUITAR, KEYS, VOCALS
JEFF ROSENSTOCK – VOCALS, GUITAR, KEYS N MORE

With her mega world tour in progress, H.C. McEntire thought it was a perfect time to unveil the music video for “One Great Thunder” from her debut solo album “Lionheart”. Shot while McEntire was in Los Angeles playing solo dates, it shows the North Carolinian bringing some calming Southern vibes to the metropolis that surrounds her.

Watch the previously released music videos for “Baby’s Got the Blues” and “Quartz in the Valley”, then head to the Merge Record store where we’ve got “Lionheart” on CD, LP, and limited-edition white Peak Vinyl.  There’s a ton of love, light, and friendship in and all around this record.

released January 26th, 2018 From the album LIONHEART, out now on Merge Records.

david-bowie-74th-birthday-single-john-lennon-bob-dylan

Even beyond the grave, David Bowie continues to gift us new music. On January 8th, what would have been his 74th birthday, two previously unreleased covers will be made available to the public for the very first time. The new Bowie covers are going to be packaged as a limited-edition two-song 7-inch single from Rhino Records. A total of only 8147 copies will be up for grabs, 1000 of which will be cream coloured. Digital downloads and streaming versions are also promised.

The first is Bowie’s take on “Mother”, the 1970 track from John Lennon. This cover was originally recorded in 1998 with the Thin White Duke’s long-time producer Tony Visconti. It was supposed to appear on a Lennon tribute collection, but the release never came to fruition.

Meanwhile, the second offering is a cover of Bob Dylan’s “Tryin’ to Get to Heaven”, taken from his 1997 Grammy-winning album “Time Out of Mind”. Bowie also recorded his reimagining in 1998 while working on his live album LiveAndWell.com that came out the following year.

David Bowie – vocals
Reeves Gabrels – guitars
Tony Visconti – bass, harmony vocals
Andy Newmark – drums
Jordan Ruddess – piano
Richard Barone – harmony vocals

david bowie 74th birthday single john lennon bob dylan David Bowies Unreleased Covers of John Lennon and Bob Dylan Will Finally Be Unearthed for 74th Birthday

Richard_Hell_Blank_Generation

By 1976, Richard Hell was already the lynchpin stabbed through the tattered rags of punk before the genre barely had a name. He’d already served in seminal groups The Neon Boys, The Heartbreakers, and Television. He’d popularized the spiked hair and torn clothing aesthetic that would be soon copied by The Sex Pistols (and a million more). And that year he formed Richard Hell And The Voidoids, which wasted no time in releasing its debut (under just Hell’s name), the Another World EP, on foundational punk label Ork Records. Hell had been performing its standout track, “Blank Generation,” in his other groups for at least a year, and it shows: Although the 1976 version is slower than the one that would break wide on The Voidoids’ self-titled, Sire rercords debut the next year, there’s nothing hesitant about Hell’s performance—a sneering, yelping, nihilist cry in which Hell expounds on the existential freedom of being born into an indifferent world. “Blank Generation” became an underground hit and instant rallying cry for an entire movement, lending its title to a 1976 documentary on New York’s burgeoning punk scene (not to be confused with the rambling, faux-Godardian romance starring Hell released in 1980), and laying the blueprint for countless punk acts and proud misfits to follow.

Blank Generation, the iconic and influential 1977 debut album from Richard Hell & the Voidoids, upgrade for its 40th anniversary, albeit a limited-edition one for the 9,000 or so people that have heard of it.

The 2-LP (4,500 copies) and 2-CD (5,250 copies) deluxe edition, released November. 24th as part of the Record Store Day Black Friday promotion, includes the original album remastered, along with a second CD/LP of alternate studio versions, out-of-print single tracks and live recordings from a pair of shows at CBGB in ’76 and ’77.

I Belong to The] Blank Generation · Richard Hell Ork Records: New York, New York ℗ 2015 Numero Group Released on: 2015-10-30

Country Westerns is a three-piece rock band from Nashville that sounds nothing like its name. Drummer Brian Kotzur (Trash Humpers, Silver Jews) and singer-songwriter-guitarist Joseph Plunket (The Weight, Gentleman Jesse) began working on songs together in 2016, after bonding over the shared desire to be in a band in a town full of solo artists and guns-for-hire. Following a couple of years writing and playing shows with varying lineups, Sabrina Rush (State Champion) joined the band as bassist. The now complete Country Westerns recorded their debut album in New York and Nashville, encouraged by friend and producer Matt Sweeney. Plunket’s raspy bravado and subtle twang, his insistent 12-string guitar riffs, Kotzur’s dynamic and metronomic drumming, and Rush’s harmonic bass playing create hyper catchy rock songs, with lyrics that bend towards poetry and punk rock sneer in equal measure. Their self-titled debut is slated for release in 2020 on Fat Possum Records. 

Released June 26th, 2020

Ryan Adams Returns with New Album 'Wednesdays'

Out of nowhere, Ryan Adams has emerged with his new album “Wednesdays”, marking his first release since facing multiple abuse allegations. Ryan Adams his first full-length album since facing multiple sexual misconduct allegations last year. The controversial singer/songwriter dropped Wednesdays through his own Pax Americana label and Empire digitally earlier today, with no advance warning. He also made a CD and extended LP, which will be coupled with a 7” containing two bonus tracks, available for pre-pre-order.

“Wednesdays, it’s a map to days now gone,” Adams said in a statement. “I release it to anyone who needs it, with love and humility in hopes everyone is finding some shelter in these stormy times.”

Adams was originally slated to release three records, including the previously announced Big Colors and Wednesday, in 2019. However, those albums as well as his touring plans were put on hold after The New York Times ran an extensive article on the troubled musician’s pattern of allegedly inappropriate behaviour toward women. His ex-wife Mandy Moore and Phoebe Bridgers were among the high-profile performers who spoke out on record against Adams, demonstrating a history psychological abuse and manipulative behaviour toward woman. Adams was also dropped by his label, Blue Note.

Though Adams denied the claims at the time, earlier this year he seemed to apologize, “All I can say is that I’m sorry. It’s that simple. This period of isolation and reflection made me realize that I needed to make significant changes in my life. I’ve gotten past the point where I would be apologizing just for the sake of being let off the hook and I know full well that any apology from me probably won’t be accepted by those I’ve hurt. I get that and I also understand that there’s no going back.”

The sincerity of Adams’ comments were met with skepticism by many, including Moore. The singer and actress called his apology “curious” and added, ” “I am speaking for myself, but I have not heard from him, and I’m not looking for an apology necessarily, but I do find it curious that someone would do an interview about it without actually making amends privately.”

The new version of Wednesdays features a slightly rejiggered track listing, including new tunes “I’m Sorry and I Love You” and “Dreaming You Backwards” Eight songs originally slated for the project are also no longer included. Adams’ only known live performance since cancelling his 2019 live dates was a surprise sit-in with long time collaborator Jesse Malin earlier this year. The album is officially out tonight at midnight, but it’s already on streaming services in other parts of the world, so you can preview Wednesdays below ahead of the record’s proper digital release in North America.

 The new album from the singer arrived on Spotify and streaming services at midnight, and marks the follow-up to 2017’s ‘Prisoner’. “‘Wednesdays’, it’s a map to days now gone,” he wrote on Instagram. “I release it to anyone who needs it, with love and humility in hopes everyone is finding some shelter in these stormy times.” According to retail listings, Wednesdays will also be getting a physical release on vinyl on PAXAM on March 19th 2021.

Adams’ last album was 2017’s “Prisoner”. He was then scheduled to release his record “Big Colors” in 2019, but that album was ultimately shelved soon after the singer was hit with serious allegations of emotional abuse and inappropriate conduct with a minor. At the time, the singer-songwriter denied claims from several women – including one who was underage at the time – of emotional and psychological abuse, harassment, inappropriate and manipulative behaviour.

At the time, Adams had promised Big Colors would be the first of three album releases, which included Wednesdays.

These allegations in which Adams’ ex-wife Mandy Moore, Phoebe Bridgers and more offered accounts of their experiences with the artist. Bridgers later issued a statement calling on Adams’ ‘network’ of “friends, bands and people he worked with” to be held to account. “I’ve gotten past the point where I would be apologizing just for the sake of being let off the hook and I know full well that any apology from me probably won’t be accepted by those I’ve hurt. I get that and I also understand that there’s no going back.

“To a lot of people this will just seem like the same empty bullshit apology that I’ve always used when I was called out, and all I can say is, this time it is different. Having truly realized the harm that I’ve caused, it wrecked me, and I’m still reeling from the ripples of devastating effects that my actions triggered.” Discussing her experience of speaking out against Adams , Bridgers argued that “there’s a conversation around privilege to be had” so that others can also have their voices heard – while also seeming to confirm that her 2020 single ‘Kyoto Song’ was levelled against him.

You can now stream Wednesdays in full. 

Image may contain: text that says 'y OC DC ROASTED EANUTS A tunng presents... DEAD CLUB'

Tunng have released a new album, “Dead Club”, it came out on November 6th via Full Time Hobby. It’s a concept album about death and grief that’s also tied to a podcast of the same name. The album’s third and final single, “Scared to Death.” They also also shared episode 7 of the podcast, which features Swiss-born British philosopher and author Alain de Botton (listen to that here).

Tunng’s Sam Genders had this to say about “Scared to Death” in a press release:

“It’s inspired by my relationship to life, death, fear and acceptance and how my relationship to those four things has shifted in recent years, and especially since we began this project. On one hand I’m hugely drawn to rational thought and scientific knowledge as a way to solve problems and navigate life. On the other hand, I only seem to make real progress when I accept how little I know and really embrace that unknowing. “Maybe the unknowing helps me deal with life’s contradictions? “I’m unafraid of being dead but afraid to die.

“Life scares the crap out of me and yet I love life so much.

“Trying to make intellectual sense of the huge range of positive and negative feelings I have about life and death doesn’t always seem possible. Accepting the flow of experience however, without trying to understand it, does sometimes seem to work for me and make it all more manageable.” 

Tunng Presents…Dead Club Here’s what songwriter Sam Genders wrote about the track: It’s a song about how, by challenging taboos, we might arrive at a place closer to the truth and find ourselves better able to support each other as a result Whilst researching this project I’ve been struck by just how much of a taboo the subject of death is in our culture. Partly because of the ways in which people have responded when I explained what we were working on. One person was seriously worried I might be suicidal, and others clearly felt it was an odd thing to explore. Partly because of my own reactions. I often found myself nervous when talking about death or grief, or reaching for a socially acceptable way of phrasing an idea and struggling to find one. And yet, once the awkwardness has passed, I’ve also found that people are often eager to talk about how death and grief have affected their lives. Sometimes as if they’d be waiting far too long for the opportunity to unburden themselves. Interestingly I feel that in many modern settings people are more comfortable taking about sex than death.

We’ve journeyed so far in the last 60 years when it comes to talking about sex and I think you can make a very good case for that being a good thing. I expect the average person knows more about avoiding STIs or unwanted pregnancy, and is more likely to be comfortable with the idea of sexual pleasure or their own sexuality than ever before. I’m sure a lot of good has come from that. Now it seems like people are beginning to talk about death more. Imagine if we were so comfortable talking about death that everyone in our culture had the skills to support people who are grieving or to plan for the end of life for themselves or a loved one. It seems like there’s so much to gain. Palliative care is one obvious example of how more knowledge and awareness might help people live better lives. The song was inspired in part by my conversation with palliative care physician and writer Kathryn Mannix and her wonderful book ‘With The End In Mind’. Lyrically the song has clearly been through the Tunng filter. I wrote the words with a fantastical, almost comic book quality in places but it’s not flippant. I think these are genuinely important ideas.”

Previously Tunng have shared the album’s first single, “A Million Colours,” accompanied by an animated video. Then they shared its second single, “Death is the New Sex,” .

Ringo Starr Shares New Single “Here’s To The Nights,” Feat. Paul McCartney, Joe Walsh and More

Ringo Starr has shared a new single, titled “Here’s To The Nights.” The song was written by Diane Warren, and it serves as the lead single for Starr’s upcoming EP “Zoom In”.

“When Diane presented this song to me I loved the sentiment of it,” said Ringo via press release. “This is the kind of song we all want to sing along to, and it was so great how many wonderful musicians joined in. I wanted it out in time for New Years because it feels like a good song to end a tough year on. So here’s to the nights we won’t remember and the friends we won’t forget – and I am wishing everyone peace and love for 2021.”

In addition to the single release, a new hardcover book chronicling the 30 years of Ringo Starr and his All Starr Band has been announced and is set for a release today, December 16th.

According to a press release: “This not to be missed commemorative photo memoir features some never-before-seen photos of the All Starr Band’s 30 record-setting years in the spotlight and life on the road, compiled by Henry Diltz and Jill Jarrett (who have followed Ringo Starr’s All Starr career since 1989), as well as exclusive images from many other photographers and members of the touring crew.

“Accompanying the photos are Starr’s candid stories, looking back on his legacy as the leader of one of the longest running live touring bands in the world – and all that goes into managing a band of music legends – and looking ahead to the All Starrs’ future making music together in a post pandemic world,” continued the release. “The book kicks off with a forward by Starr’s dear friend and brother-in-law, Joe Walsh, the renowned American musician, member of James Gang, the Eagles, and the Ringo Starr & His All Starr Band, and named one of the greatest guitarists of all time .

Starr sings and drums on the new track, joined by Steve Lukather on guitar, Nathan East on bass, Benmont Tench on piano, Bruce Sugar on synth guitar, Jim Cox on synth strings (and string arranger), Charlie Bisharat on violin and Jacob Braun on cello. “Here’s To The Nights” also features a star-studded cast on guest vocalists: Paul McCartney, Joe Walsh, Corinne Bailey Rae, Eric Burton (Black Pumas), Sheryl Crow, FINNEAS, Dave Grohl, Ben Harper, Lenny Kravitz, Jenny Lewis, Steve Lukather, Chris Stapleton and Yola.

“Here’s To The Nights” A Universal Music Enterprises release; a Division of UMG Recordings, Composer Lyricist: Diane Warren