Posts Tagged ‘Louisiana’

New Orleans–based singer-songwriter Esther Rose has released a cover of Sheryl Crow’s 1998 track “My Favorite Mistake.” The track was recorded live to live at New Orleans’ Tigermen Den.

“When people ask what kind of music I play I generally tell them ‘country & folk,’ but the truth is my band has a secret genre for my songwriting style which they call ‘’60s/’90s’; this weird blend of late-’60s folk and early-’90s alternative rock,” Rose said in a statement. “‘My Favorite Mistake’ somehow slides right into that comfort zone. My band and I had a lot of fun coming up with our own arrangement; Dan Cutler is playing that iconic guitar riff on upright bass, we slowed down the tempo, and I changed a couple words to make it a little more hopeful.”

Last year, Rose released her sophomore record, You Made It This Far, via Father/Daughter Records.


Written by Sheryl Crow (BMI) and Jeff Trott (ASCAP)
Vocals: Esther Rose
Fiddle: Lyle Werner
Bass: Dan Cutler
Lap Steel: Matt Bell
Guitar & Vox: Max Bien-Kahn
Drums & Vox: Cameron Snyder

Special Interest is a four piece Industrial punk band emerging from New Orleans, Louisiana. Combining elements of No-Wave, Glam, and Industrial Special Interest create a frenetic and urgent revisioning of punk and electronic music for a modern world gone mad. Propulsive analogue drum machines, a swirling layer of detuned samples, and a driving bass line create the foundation across which angular guitar work and dissonant synth lines glide. Front and center are Alli Logout’s commanding vocals and razor sharp lyrics moving from high camp satire to insightful political imperatives often within the course of one song.

Debut LP from NOLA’s Special Interest. Brooding, political no wave madness from members of Mystic Inane, Patsy, and Psychic Hotline. Great mix of all things punk and industrial, with plenty of catchiness to boot. Favorite track is definitely “Disco II”, a perfect dance tune for the inevitable techno-apocalypse ahead.

Originally released February 28th, 2018

No photo description available.

For the past two years Saddle Creek Records have been doing their part to support the DIY community beyond their Omaha scene with the Document Series, an ongoing collection that shines a light on the radiant pockets of indie rock throughout the country. They’ve previously featured Posse, Palehound, Hand Habits, Hovvdy, etc. and now New Orleans’ Treadles are the next in line. One of our favorite new bands from the Crescent City, the quartet released “Bees Are Thieves Too” back in 2017, their first release as a full band. The years since have found KC Stafford (guitar, vocals) busy as a member of experimental doom metal favorites, Thou, but some point they found enough time to record a few new Treadles songs. Their return is triumphant on “Cold b/w Iron”, the new 7” single handpicked by Saddle Creek, is due out May 24th.

“Cold,” the single’s A-Side is a procession of textures both gentle and raw, from the warm picked intro into the deep plodding bass line. Stafford and Emily Hafner offer a gorgeous harmony, their voices a perfect pairing to sink into hazy emotional atmosphere, punctuating the pull of gravity as they sing “morning comes with the sun but I can’t pick me up from off this dirty ground.” Ian Paine-Jesam casually works an entrancing floor tom and snare rhythm as the band break toward ethereal clarity in the song’s bridge, shifting toward a knotted progression, one that weaves itself tighter as it evolves. The intensity eventually boils over with the structure erupting yet remaining impeccably tight. Treadles work themselves into the oncoming chaos with grace, becoming ever so unglued as they “try not to think about it.”

TreadlesCold from the Saddle Creek Records Document 7″ vinyl Cold b/w Iron Out May 24th 2019!

“I’m always changing,” Esther Rose sings at the top of her sophomore album, “You Made It This Far”. The line is at once a promise and a plea, a concise distillation of her commitment to evolution as well as her dogged determination to meet every challenge in her path with unconditional acceptance. Laid-back yet deliberate, her delivery here marries old-school country and rural folk with a plainspoken philosophy that’s thoroughly modern, and the end result is a record that’s as joyful as it is restless, one that weaves fiddle and lap steel around profound revelations .

“There’s this theme of radical acceptance running through the whole album,” explains Rose, who recorded the album live to tape at Mashed Potato Records in New Orleans in just four days. “I didn’t realize it until after I’d finished writing the songs, but they all came from this place of trying to understand and truly accept myself and others in our most vulnerable moments of confusion or despair.”

A New Orleanian for the last decade, Rose first gained national prominence with the release of 2017’s This Time Last Night, an intoxicating debut, her “honest, gorgeous country songs” and rave that “her voice has a pitched-up June Carter quality, her melodies are simple like Jimmie Rodgers’s, and her tone is reminiscent of bluesy, lovelorn greats like Rex Griffin and Patsy Cline.” The record earned Rose many festival performances from Savannah Stopover to AmericanaFest alongside dates with The Punch Brothers, Pokey Lafarge, and The Deslondes, and it even caught the ear of fellow Detroit native Jack White, who was so taken with the music that he invited Rose to duet with him on his Boarding House Reach album and to share the stage for a live performance at Jazz Fest.


While writing the songs that would become You Made It This Far, Rose found herself working through a period of tumultuous change, grappling with a breakup, a move, and a family illness all at once. Splitting her time between New Mexico and New Orleans, she pondered what it takes to love and to be loved, to be vulnerable enough to let someone in and brave enough to face the pain when they’re gone.

Following the release of 2014’s AlixGenerationals decided to forego the traditional approach of writing, recording and releasing music in one large batch in favor of putting out singles as soon as they were completed, which resulted in a slew of standalone tracks throughout 2017 and 2018.

Now, for the first time, these singles (along with an exclusive track) will receive a physical release via State Dogs: Singles 2017-18.

Pre-orders are live, including a limited edition vinyl pressing, along with CD and digital options. Order now and receive 8 tracks instantly! The entire collection drops on December 7th.


Releases December 7th, 2018

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Bent Denim builds beautiful, narrative- driven songs by swapping tracks over email between their respective home bases of Nashville, New York, and New Orleans.

“Idiot” is the new track from Bent Denim and while it makes for a flat and grey three-minute space, over time it becomes something quietly but strikingly pretty; the tempered sound of listlessness articulated rather beautifully indeed.

Taken from the duo’s new album ‘Town and Country’. which is released on May 11th, the new track is almost hypnotically tender, and it’s no surprise to hear that it was informed by the idea of childhood and memories and the space such things leave behind. Slurred and suffocating, the whole thing plays out like some filmic half-dream sequence, where the weight of an afternoon sends us spiralling back to rarely visited recollections of youth, the distance between then-and-now leading to the kind of yearning nostalgia that can quickly put paid to the rest of the day.


Tenderly handled, and all the more alluring for the blurred gaps it’s happy to reveal, “Idiot” is a captivating next-step, and one that adds even greater intrigue to the forthcoming new record.


Band Members
Ben Littlejohn,
Dennis Sager,
Chris Littlejohn,

On her earlier albums, Alynda Segarra (aka Hurray For the Riff Raff) explored the troubadour wanderings and raffish sounds of Americana. On the 29 year old’s visionary new work,  The Navigator she brings it all back home, re-connecting to her buried Puerto Rican roots. In the process, Segarra struck an original mix of roiling bomba rhythms and catchy New York rock. Drawing inspiration from Ziggy Stardust  , she conceived ‘The Navigator’ as a sci-fi tinged concept album, tracing the life of a character named Navita Milagros Negron through a metaphysical world. The lyrics present the story as a play, with allusions to the Latin political group of the ’70s, The Young Lords and verse from Puerto Rican poet Pedro Pietri. Segarra’s catchy songs connect the dots in the long lineage of Latin influences on popular music, from the street-corner harmonies of doo-wop to the romantic hits of the Brill Building to the Latin-rock of acts from Mink DeVille to The Ghetto Brothers. A song like “Living In The City”  sounds like something Lou Reed could have cut in the early ’70s, delivered with righteous fervor by Segarra’s resonant vibrato. Themes of gentrification and cultural appropriation anchor the story. Properly staged, ‘The Navigator’ could become a rock opera for our time.


Arguably the most overtly political act on the folk-rock scene right now, we suspected this new album from Alynda Lee Segarra and co would be a bit of a call to arms. Indeed, it is, and it delivers. “The Navigator” is the sixth full-length studio album by Hurray for the Riff Raff, released by ATO Records last March 2017. The album was produced by Paul Butler, a member of the band The Bees. This powerful album has musical diversity, consistent quality and gripping songwriting all while feeling effortless,

“The question of identity is touched upon throughout the songs here (national, political, gender), but in terms of musical identity, Hurray for the Riff Raff know exactly who they are.


In the aeroplane over the sea album cover copy.jpg

Neutral Milk Hotel’s In The Aeroplane Over The Sea is one of the great cult records. Issued in 1998, it’s full of enigmatic lines, like “Now she’s a little boy in Spain/Playing pianos filled with flames”, and Jeff Mangum’s raw performances are enticing. In The Aeroplane Over The Sea was expected to sell around 5,000 copies, but it’s sold closer to half a million and Jeff Mangum’s influence can be heard in the next generation of indie folk bands like The Decemberists and Arcade Fire.

For the most part, the mythology around Neutral Milk Hotel has existed beyond their control. Their singer and leader, Jeff Mangum, is certainly a part-recluse, but beyond anything he’s simply a man who called it quits at the very moment his band saw their name in lights. By shunning interviews, he’s subsequently been billed as either a JD Salinger-like enigma or a modern-day Syd Barrett. These are two exaggerated interpretations, coined largely because the band, who split in 1999, have barely said a word since then.

The trouble is, they departed with a record that remains hard to explain. Unintentionally, they timed their disbandment with the rise of music-forum discussions,  Neutral Milk Hotel ended just when mythology became a crucial factor in propelling a band’s reputation, and in the absence of anything to diminish them, their reputation simply just grew and grew .

That’s not to say the 1998 album that made their name, In the Aeroplane Over the Sea, isn’t a phenomenal record. Born from Mangum’s bizarre, brutally heartfelt interpretation of The Diary of Anne Frank, it shuns reality and historical interpretations for surrealist imagery, Bulgarian street music, drone sections and a lifetime’s supply of fuzz pedals.

The first release under the Neutral Milk Hotel moniker was the 1994 EP “Everything Is”, a short collection of tracks featuring Mangum. On the band’s full-length debut album “On Avery Island”, which followed shortly thereafter, Mangum was joined by childhood friend and frontman of the band Apples In Stereo Robert Schneider who contributed production and instrumentation. Upon the album’s release, the full band was formed and extensive touring began.

“In the Aeroplane Over the Sea” went on to inform the following decade’s biggest alternative breakthroughs, from Arcade Fire’s rousing collective cries to Beirut’s well-travelled spirit. You can even hear the splintering emotion mirrored on Bon Iver’s cabin-feverish debut, For Emma, Forever Ago. And the record is so crammed full of the frontman’s subtle, autobiographical references, it’s still being decoded 18 years on. By disappearing, they allowed word of mouth to set the agenda and “In the Aeroplane Over the Sea” attained the status of being the one indie record you had to hear. Mangum’s unique lyricism, combined with his reclusion, only enhanced fever around the band.

By the time the wheels came off, Neutral Milk Hotel were already enjoying cult status. One of the reasons they split is that Mangum found it hard to deal with the attention he started to get. “Jeff’s a very private person,” Bill Doss, co-founder of the Olivia Tremor Control, told the Guardian, “and kids were freaking out over him. [They’d] be following him around, these little packs of kids staring at him. It weirded him out, and he just sorta backed off.”

Neutral Milk Hotel

The first NMH albun, On Avery Island, had sold 5,000 copies. The band’s early converts were on board for life, and shows soon had the status of being emotionally overwhelming, must-see experiences. But the group still enjoyed the freedom to write and record with little-to-no expectation, sharing communal spaces in Athens, Georgia; making music with zero regard for time of day or final product.

That goes some way to explaining Mangum’s sudden reluctance to pursue the project as soon as it took off. Involved in cassette culture and DIY collectives from an early age, music was a free-spirited outlet for him. Once he realised it was not what he had imagined it to be, he decided enough was enough., in a rare interview in 2002: “I went through a period, after Aeroplane, when a lot of the basic assumptions I held about reality started crumbling. I guess I had this idea that if we all created our dream we could live happily ever after. So when so many of our dreams had come true and yet I still saw that so many of my friends were in a lot of pain … I realised I can’t just sing my way out of all this suffering.” Given how many bands today tend to press on before fading out with a whimper, his decision to go out with a bang seems admirable.

NMH perform a reunion show at Fun Fun Fun festival, in Austin, Texas, 2014.

A reunion tour in 2013 did little to tarnish the Neutral Milk Hotel legacy. Proceeds went to a charity aimed at improving the lives of Mongolian children, and they weren’t billed beyond the hype in nostalgic festival headline slots. And by not caving in and releasing another record in conjunction with a tour, they helped keep things on their terms. Everyone’s accounts of the reunion shows are wildly different. Depending on who you ask, these comeback gigs were either religious experiences or bitter disappointments. But most crucially, Neutral Milk Hotel remained a source of personal investment. Every one of the band’s fans has their own epiphany, an individual account of the first time they were struck down by what they heard. By opening up these moments to a new generation, or simply those who missed the boat last time round, Mangum finally managed to hold the ropes of his band’s mythology.

The band’s never released a followup album, so their non-album material is pored over more than most. ‘Engine’ turned up on the b-side of the ‘Holland, 1945’ single. The version of ‘Holland, 1945’ was recorded in the London Underground – a train can be heard approaching at the end, and a single person clapping.


The (independent) band built around the colorful dynamic of Louisiana ex-pats singer Jessica Ramsey and guitarist Andrew Martin spent much of 2016 making an album with producer John Goodmanson (Blonde Redhead, Sleater Kinney, Blood Brothers). Almost indescribable, but think Kate Bush on swamp gas taking a mystical trip through the bayou