Posts Tagged ‘Kevin Devine’

In 2011, Kevin Devine & The Goddamn Band recorded a cover of the entire Nirvana album, “Nevermind”. Assuming you’ve heard of that one, I’ll just let you know that this is the first vinyl pressing of it and it’s limited to 500 units on regular ol’ black vinyl. There’s a picture to the left (or above, if you’re on mobile).

From Kevin: “It’s basically impossible for me to talk about Nevermind objectively. I recognize its canonical place as a cultural artifact, and that there is nothing unique about being one of the tens of millions of people for whom that album was literally life-changing.That doesn’t make it any less true. I played it for my parents, and I play it for my daughter. It’s unquestionably the most important music I’ve ever heard.

It engaged and clarified murky looming interior early adolescent messinesses, introduced me to entire aesthetics and subcultures and sociopolitical sensibilities and non-traditional iterations of masculinity to which I am indebted to this day, encouraged me to write songs and yell and sing and play guitar and worry less about expertise and more about expression, and helped define whole friendships, installing in us a language we still speak fluently.

It made things seem possible. It was a magic trick, a ubiquity that felt like an insurrection, something that was everyone’s and yours, too. We recorded this because we wouldn’t have done any of what we’ve done – or even known each other – without this record.

It felt like a fitting tribute to its spirit to knock it out in a basement over a weekend. That’s how I learned it in the first place, 28 years ago.

releases on November 22nd, 2019. It’ll be on digital platforms that day. Records will start shipping immediately and if you buy from our webstore we’ll also email you a link to download the album immediately on that day.

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As promised, Kevin Devine’s upcoming “Celtic EP” as Kenny O’Brien and The O’Douls features a Waterboys cover, and that cover is pretty great and it’s out today. Kenneth John O’Brien Jr. (born November 27, 1960) is a former American football quarterback who played in the National Football League for the New York Jets and Philadelphia Eagles.

Kenny O’Brien & The O’Douls are an alter-ego for Kevin Devine and his friends to goofily but enthusiastically play music for you on St. Patrick’s Day, while wearing the best Irish accoutrements that New York’s $.99 stores can supply.

We are here releasing on 12″ vinyl and obviously the vinyl is green, a total of four tracks from this Celtic-inspired, rocking outfit. Two of these tracks were released for Kenny O’B and the O’D’s first run of shows during St. Patrick’s Day weekend 2019, while two of them are new for the 2020 shows which are set for March 13, 14 and 15 in Boston, Brooklyn and Philly.

“The Whole Of The Moon” · (Kevin Devine) Kenny O’Brien & the O’Douls ℗ 2020 Bad Timing Records and Devinyl Records

Kevin Devine will transform into Kenny O’Brien and The O’Douls for a St. Patrick’s Day celebration in the Boston-area and NYC . He’ll be playing at Great Scott in Allston, and early and late shows and at Mercury Lounge in NYC, and in his words: “It’s gonna be a party, essentially, the kind of punk, uptempo side of what I do with some Celtic instrumentation.” To get a taste of what it might be like, Kevin’s got a newly-recorded cover of The Pogues“The Body of An American,” It’s a pretty faithful take on the original, but it also has that unmistakable Kevin Devine touch, and it’s good stuff.

Kevin also put together a (pretty funny) video of himself explaining the reasoning behind the name “Kenny O’Brien and The O’Douls” and what these shows will be all about. He also includes a story about a St. Patrick’s Day 14-hour alcoholic blackout at SXSW.

To get a sense of what we’re doing, head over to BrooklynVegan (who’ll be presenting the shows), enjoy our cover of The Pogues’ “The Body of An American” & get some more info on the project & the weekend:


Released December 13th, 2018

This is an important message from the Devinyl Transit Authority.
Devinyl Splits No. 8 is delayed until July 27. Alternative service provided via a digital-only split, ‘Unplanned Service Changes,’ featuring Kevin Devine and Worriers, available everywhere June 1.

All future installments of Devinyl Splits Vol. 2 will continue on the planned every-other-month basis from the July 27 release of Devinyl Splits No. 8.
The Devinyl Transit Authority apologizes for the delay and any inconvenience caused. Have a nice day. Buy Devinyl Splits on vinyl:

Released June 1st, 2018


Devinyl Splits No. 7 features Craig Finn & The Uptown Controllers on Side A and Kevin Devine on Side B. The split was released in March 2018, with digital downloads being delivered to your inbox before the release date. The splits are in hand already and will ship on time.

Craig Finn & The Uptown Controllers contribute “Galveston” a song in which the weaving, story-telling songwriting that has defined Finn’s career to date is on full display. Finn plays in the band The Hold Steady and released his most recent solo album, We All Want The Same Things, also in March 2017.

Kevin Devine contributes “Kuala Lumpur,” his first new song since the release of October 2016’s wonderful album Instigator. Devine also released an acoustic reimagining of Instigator, titled We Are Who We’ve Always Been, in October 2017.


Kevin Devine suffers from Nice Guy Syndrome. Over the last 20 years, his smiling face has been such a reliable staple in the indie rock scene that it’s almost possible to take him and his music for granted. But over those two decades, the Brooklyn songwriter has quietly amassed a substantial catalog of solidly crafted albums. With his ninth solo effort, “Instigator”, it’s clearer than ever that it’s time to take a step back and appreciate just how talented this guy is. “Instigator’s” first half alone includes no fewer than four absolutely perfect songs. And the album’s relentless assault of catchy hooks makes its easy to overlook the fact that Devine is tackling timely and important topics like police murder and the hypocritical nature of political criticism. Kevin Devine is not asking for your respect as a songwriter here.

For Kevin Devine, as for so many Americans in 2017, the lines between the political and the personal have become a little blurred. “Life is really sweet right now on the ground and really fucking insane in the air,” Devine says. At 37, the Brooklyn-based singer-songwriter has learned to balance talking about the present and his past, singing about everything from his own personal trauma to government shutdowns. But with our current climate, Devine knows it’s pretty impossible to avoid the political. “It’s so omnipresent that it can’t not sneak in, and it kind of comes in through the side, but I haven’t sat down to write my nuclear war song yet or my ‘the president is a racist’ [track],” he explains. His 2016 album, Instigator, was written largely during the presidential campaign, but was recorded and released before the actual election.

“A few of the songs that are on there that are social justice songs unfortunately have aged really well, given what happened,” he notes. For instance, “Freddie Gray Blues” focuses on police brutality and institutional racism, while “No History” reflects on how little we’ve learned as a nation since 9-11. The words still resonated in 2017 — maybe more than ever — but Devine wanted to shift tone. The result: a more contextual, stripped-down re-work of Instigator called We Are Who We’ve Always Been, released in October. “It felt like the timing was right for recommunicating those [songs] with a bit more solemnity or gravity,” he says. “Everyone is just feeling their way through how to reckon with [our current reality] and how to communicate about it, I think. I know that I am.”

For his latest release, Devine sought the help of his friend and collaborator of fifteen years, Chris Bracco. Recorded in just two days, the bulk of the album is just live guitar and vocals. “The baseline thing we wanted was no electric guitar and to keep it to acoustic guitar, vocal, and harmonies,” says Devine, explaining that he wanted the album to have a direct, spare quality to it: something akin to the intimacy of a live performance. During the writing and recording process, he was immersed in Big Thief’s latest record, Capacity, listening to it on loop. “[Capacity] is actually a spare, direct-communicator record, so I’m sure that snuck in subconsciously.”

For “Freddie Gray Blues,” Devine recruited SWIVS’ Will Schalda, Jr., while Half Waif’s Nandi Rose Plunkett assisted on the cascading harmonies of “I Was Alive Back Then.” For “No One Says You Have To,Devine recruited the Mynabirds’ Laura Burhenn. The collaborations were all pleasant surprises, especially when they came out differently than he had imagined. “I think all three of them made a cool, new painting with what they did.”

Having joined forces with Atlanta band Manchester Orchestra on the indie rock side project Bad Books — and after a short-lived tour with Brand New this fall  Devine is at least temporarily focusing on his own work again.

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Kevin Devine is an independent singer/songwriter from Brooklyn, NY. He plays alone, with his Goddamn Band, and as a member of Bad BooksKevin Devine released his ninth full-length, Instigator , and he just kicked off a headlining North American tour with Adult Mom and Chris Farren as support. To mark the occasion, he’s releasing a video for “Daydrunk,” a song about resisting the temptation to stare down the bottom of a bottle in the daylight hours. The video was directed by Daniel Ralston and stars Devine, Heather Matarazzo (Welcome To The Dollhouse, The Princess Diaries), and Gaby Dunn as customers at a dive bar — they do karaoke, ward off unwanted advances, make tough decisions that could impact other people’s lives. All in a day of dark, depressing daydrinking

“Daydrunk” from Kevin Devine’s Instigator, out now on Procrastinate! and Triple Crown Records.

Pretenders – Alone

Chrissie Hynde returns with the first Pretenders album in eight years. Alone was recorded with the Black Keys Dan Auerbach at his Easy Eye Studio in Nashville, and features Hynde on vocals and guitar joined by bassist Dave Roe (Johnny Cash, Loretta Lynn), pedal steel guitarist Russ Pahl (Blake Shelton), guitarist Kenny Vaughan (Lana Del Rey), keyboardist Leon Michels, and drummer Richard Swift.


Hooton Tennis Club release their second album, Big Box Of Chocolates produced by Edwyn Collins at his Clashnarrow Studios in Helmsdale, Scotland. If their debut album, Highest Point In Cliff Town, released in August last year, was the band’s sprightly statement of intent, Big Box of Chocolates may well be their coming-of-age: a record that retains all the colour and invention of their debut, while being elevated by richer instrumentation and lyrics that hint at slightly heavier themes: love and loss, nihilism and the ‘non-spaces’ of Northern England, all delivered in the band’s typically laconic, bittersweet style, like a Mersey Beat Murakami. The dozen tracks continue the band’s knack of combining catchy off-kilter riffs with droll storytelling; album narrators – vocalists and guitarists Ryan Murphy and James Madden – seem to straddle optimism and uncertainty with their lyrics, whether singing about their internal worlds or commenting on a motley cast of characters (Bootcut Jimmy, BBC 6Music presenter Lauren Laverne, Lazers Linda…) who turn up across the album’s 41 minutes to amuse, tempt or torment them. Whether fictional (the awkward genius Jimmy ‘looking shifty in his new shoes’) or real (Ryan’s ex-housemate immortalised in first single Katy-Anne Bellis), each character shares an equal platform, all revered in Hooton’s own low-key way. Recorded over three weeks in Helmsdale, during which time they all grew beards, drank copious amounts of tea, became birdwatchers and whiskey tipplers, the album reflects the band’s relaxed approach to songwriting ; they tend not to labour over recording demos or strumming and beating the life out of songs in the practice room -instead, ideas are allowed to form spontaneously: melodies are hummed into phones or computers, lyrics batted back and forth between Murphy and Madden, songs worked out alone in the bedroom, or layered up from scratch together in the studio.

LP – Yellow Vinyl with Download.


Big Star – Complete Third

The small but rabid cult of Big Star, composed initially of rock critics and hometown Memphis hipsters, coalesced around 1972’s ‘No#1 Record’, which supercharged the legacy of the Beatles and Byrds, and 1974’s ‘Radio City’, which brought additional attitude and poignancy to the recipe. The shimmering brilliance of Big Star’s sound and songs on those two LPs, along with its underdog allure, would have been sufficient to perpetuate the band’s legend. But there was a third album, and that strange beast of a record made all the difference for subsequent generations of fans – many of whom formed bands of their own – who turned each other on to this music as if it were a secret religion or a trippy new drug. After more than a decade of looking for additional music beyond the original album that is Big Star’s Third, the search is now over. While some demos and alternate versions of songs have dribbled out over the years across various compilations, all extant recordings made for the album are presented here for the first time in ‘Complete Third’. The collection boasts 69 total tracks, 28 of which are previously unheard session recordings, demos and alternate mixes made by producer Jim Dickinson and engineer John Fry. The set allows the listener to track the creation of the album from the original demos, through sessions to rough mixes made by Dickinson and Fry, to the final masters of each song. Besides the contextualizing main essay from writer / A&R man, Bud Scoppa, extensive notes from original participants and artists influenced by Big Star are also included: Mary Lindsay Dickinson, Mitch Easter, Adam Hill, Elizabeth A. Hoehn, Susanna Hoffs, Peter Holsapple, Gary Louris, Mike Mills, Cheryl Pawelski, Debbi Peterson, Pat Rainer, Danny Graflund, Jeff Rougvie, Pat Sansone, Chris Stamey, Jody Stephens, John Stirratt, Ken Stringfellow and Steve Wynn. Initially, the collection will be released in a 3-CD boxed set and with three separate double LPs to follow, each vinyl volume representing a CD in the boxed set.

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Kevin Devine – Instigator

Produced by John Agnello (Sonic Youth, Dinosaur Jr.), Instigator is Kevin Devine’s ninth full-length album and comes on the heels of a busy few years: In addition to recording two albums with Bad Books (the indie-rock supergroup he formed with members of Manchester Orchestra), he released the Kickstarter-funded double-album collection Bubblegum and Bulldozer in 2013 along with the wildly ambitious 2015 Devinyl Splits 7” series with the likes of Brand New’s Jesse Lacey, Perfect Pussy’s Meredith Graves and Nada Surf’s Matthew Caws. Devine is a master storyteller, and he imbues Instigator – from the biting power-pop of Both Ways to the angular Guard Your Gates and gorgeously finger-picked No One Says You Have To – with intricate details and often-uncomfortable truths. Their meanings are personal, but their themes are universal. It’s a skill that makes both his albums and his live show so alluring: Even when Devine’s writing about the world at large, he’s pointing a mirror back at himself. When Devine’s past lives meet his present-day self on the career- defining I Was Alive Back Then, the beautiful duality of his art takes center stage: Life is never all peril or perfection, a country ripped apart by war and social injustice or the joy of holding your child for the first time. The extremes might be easier to define, but it’s in the middle where life really happens.


Agnes Obel  –  Citizen of Glass

Highly anticipated stunning third album from Danish born singer- songwriter Agnes Obel, the follow up to her UK breakthrough record Aventine. Recorded, mixed and produced by Obel in Berlin, where she currently resides, Citizen Of Glass is a work of haunting beauty and an expansion of Obel’s mesmerising world. The title surfaced in Obel’s mind while touring Aventine and, inspired by modern composers, the album conceptually and thematically revolves around the leitmotif of transparency. On this record Obel experiments with her vocals in inventive new ways, in order to manipulate them into alternative versions of her own voice, as can be heard on first single Familiar. Obel also incorporates a number of different instruments, such as the Trautonium (an extremely rare instrument that possesses a glistening, glass-like sound), alongside vibraphone, cembalo, cellos and more.

Crocodiles  –  Dreamless

Comprised of best friends Brandon Welchez and Charles Rowell, Crocodiles have earned their place as one of the United States’ most engaging, hardworking and consistent rock and roll bands of the past few years. Dreamless is the pair’s sixth LP, their most exploratory and focused release. Crocodiles’ first two albums made their home within a stew of fuzzed-out psychedelia, and the following three albums explored pop sensibilities placed against whirring guitars and barbed production, but on this latest album the duo’s artistic departure places their guitars in the backseat in favor of a more spacious, synthesizer and piano-driven sound. The title of the album works levels: “I suffered insomnia throughout the whole session. I was literally dreamless,” explains Welchez. “The past two years had been fraught with difficulty for us—relationship troubles, career woes, financial catastrophe, health issues,” he continues. “It was easy to feel as if the dream was over.” Recorded in Mexico City once again by friend and occasional bandmate Martin Thulin (Exploded View), Dreamless keeps the exemplary production on Crocodiles’ previous releases and reconciles their realigned focus on keys by pairing down the instrumentation to allow lyrical sentiments and themes to cut through.

Kevin Devine is a master storyteller, an independent singer/songwriter from Brooklyn, NY. He plays alone, with his Goddamn Band, and as a member of Bad Books. he imbues his ninth album “Instigator” – from the biting power-pop of “Both Ways” and “No Why” to the angular, Nirvana-esque “Guard Your Gates” & gorgeously finger-picked “No One Says You Have To” with intricate details and often-uncomfortable truths. Their meanings are personal, but their themes are universal. It’s a skill that makes both his albums and his live show so alluring: Even when Devine’s writing about the world at large, he’s pointing a mirror back at himself. And it’s there on “No History,” a string of personal vignettes centered on the September 11th, 2001 attacks. It’s a song made much more meaningful by both the din of the 2016 presidential election and current global climate.

Produced by John Agnello (Sonic Youth, Dinosaur Jr.), Instigator is Kevin Devine’s ninth full-length album and comes on the heels of 2015’s Devinyl Splits with the likes of Brand New’s Jesse Lacey, Tigers Jaw, and Nada Surf’s Matthew Caws, the Kickstarter-funded double-album collection Bubblegum and Bulldozer, and two Bad Books albums. Out on October 21st.

Taken from ‘Instigator’,