Posts Tagged ‘Margo Price’

As the follow up to Jeremy Ivey’s 2019’s debut, the much acclaimed “The Dream and the Dreamer”, his new album Waiting Out the Storm takes a topical turn with songs that allude to the malaise that’s seeping the nation in the wake of our current political maelstrom, a concurrence of natural disasters, the Covid pandemic, and the growing resolve of the Black Lives Matter movement and the racism found in its stead.

It’s not a preachy record by any means, but it does stir some sentiments and speak to those issues and concerns that have forced Americans to wake up and take notice, no matter which side of the divide they happen to be on. “Yeah, it was actually written before my first album was released, but these kind of things have been making headlines for a while,” Ivey suggests when asked about the origins of his stirring new songs. “Racism, violence and greed have been the backbone of civilization for some time.” Ivey adds that he’s injected his own insights into this material, suggesting that he’s been more than a mere outside observer. “Yes, I’ve lived inside each one of these stories,” he affirms somewhat obliquely. “I’ve seen Walt Disney, Al Capone and Oprah hanging out with Warhol.

I’ve seen the queen of doom wringing her hands and holy meat walking down the street. I’ve seen the shattered windows of clinics and prostitutes in steel-toed boots too. It’s all truth.” Given that Ivey seems resigned to a more pessimistic perspective, suffice it to say he views things from a decidedly bleak point of view. “Our country has lost every bit of morals and dignity, but maybe our country never had that in the first place,” he insists. “We need to wake up and start treating each other the way that we want to be treated, because if that doesn’t happen, you think this pandemic is bad? There will be a great judgment on this world and everyone in it if we don’t take this kind of thing seriously. When one person kills another person, and it’s known publicly, and no one is tried or punished for it, the end is near. Things could get much worse.”

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I can’t say enough great things about this album and this man. These songs are a very realistic view of our world. The pictures Jeremy paints are both sad and hopeful. He truly is a word smith for our times… I can’t wait for all the great things yet to come his way. Recorded with his group The Extraterrestrials, and produced by his wife Margo Price and with  contributions from members of her backing band, the album is, he says, was the result of the pair’s ability to work well together and remain, as he describes it, “relaxed and focused.

The Band: Jeremy Ivey – guitar, vocals, harmonica, piano, synth The Extraterrestrials are: Evan Donohue – guitar, vocals Coley Hinson – bass, vocals Alex Munoz – guitar, lap steel Josh Minyard – drums, percussion Special guests: Margo Price – vocals, percussion Dillion Napier – drums, percussion Micah Hulscher – organ, piano, synth, electric piano Dexter Green – vocals and additional arrangement on Movies.

Released October 16th Production – Margo Price Co-production – Jeremy Ivey and The Extraterrestrials

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The new album, produced by Sturgill Simpson, commits her sky-high and scorching rock-and-roll show to record for the very first time. Whether she’s singing of motherhood or the mythologies of stardom, Nashville gentrification or the national healthcare crisis, relationships or growing pains, she’s crafted a collection of music that invites people to listen closer than ever before.

Margo Price’s take on classic sounds is at once familiar and daring, an infectious blend of Nashville country, Memphis soul, and Texas twang.
On May 8th, Margo Price will release “That’s How Rumours Get Started”, an album of ten new, original songs that commit her sky-high and scorching rock-and-roll show to record for the very first time. Produced by longtime friend Sturgill Simpson (co-produced by Margo and David Ferguson), the LP marks Price’s debut for Loma Vista Recordings, and whether she’s singing of motherhood or the mythologies of stardom, Nashville gentrification or the national healthcare crisis, relationships or growing pains, she’s crafted a collection of music that invites people to listen closer than ever before.

Margo primarily cut That’s How Rumors Get Started at Los Angeles’ EastWest Studios (Pet Sounds, “9 to 5”). Tracking occurred over several days while she was pregnant with daughter Ramona. “They’re both a creation process,” she says. “And I was being really good to my body and my mind during that time. I had a lot of clarity from sobriety.”

While Margo Price continued to collaborate on most of the song writing with her husband Jeremy Ivey, she recorded with an historic band assembled by Sturgill, and including guitarist Matt Sweeney (Adele, Iggy Pop), bassist Pino Palladino (D’Angelo, John Mayer), drummer James Gadson (Aretha Franklin, Marvin Gaye), and keyboardist Benmont Tench (Tom Petty & The Heartbreakers). Background vocals were added by Simpson on “Letting Me Down,” and the Nashville Friends Gospel Choir, who raise the arrangements of “Hey Child” and “What Happened To Our Love?” to some of the album’s most soaring heights.

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Margo Price and her steady touring band – Kevin Black (bass), Jamie Davis (guitar), Micah Hulsher (keys), and Dillon Napier (drums) – will perform songs from That’s How Rumors Get Started at dozens of shows with Chris Stapleton and The Head & The Heart this spring and summer, in addition to festival appearances and more to be announced soon. Find all dates here and below.

That’s How Rumors Get Started follows Margo’s 2017 album All American Made, which was named the #1 Country/Americana album of the year by Rolling Stone, and one of the top albums of the decade by Esquire, Pitchfork and Billboard, among others. In its wake, Margo sold out three nights at The Ryman Auditorium, earned her first Grammy nomination for Best New Artist, and much more.

Releases July 10th, 2020

 

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Margo Price has set a new release date for That’s How Rumors Get Started, her new Sturgill Simpson produced album, which will be out July 10th via Loma Vista. (It was originally set for a May release.) “Take me back to the day I started trying to paint my masterpiece so I could warn myself of what was ahead,” she says, referencing the many world-changing events of the last three months. “Time has rearranged, it has slowed down, it has manipulated things like it always does…the words to some of these songs have changed meaning, they now carry heavier weight.”
She continues: “I’ve seen the streets set ablaze, the sky set on fire. I’ve been manic, heartbroken for the world, heartbroken for the country, heartbroken from being heartbroken again and again. This album is a postcard of a landscape of a moment in time. It’s not political but maybe it will provide an escape or relief to someone who needs it. Sending love to everyone out there and hope I see you down the highway.”

With the news comes a new single, “Letting Me Down” and a video that was shot during lockdown in an old RV and at an abandoned hospital. “We bought a cheap ’80s travel trailer with a bathroom, kitchen, and a propane powered refrigerator, so we wouldn’t have to go inside anywhere for food or bathrooms,” says director Kimberly Stuckwisch. “We were able to abide by the 6-feet social distance CDC recommendation as we set up a remote head for the camera that we operated from a closet outside of the room. We wore masks the entire time and Margo supplied us with multiple bottles of hand sanitizer and spiked seltzers. We parked our RV in her driveway and worked solely out of there and the room we were filming in. We wanted to speak to what was going on at that moment, to a world that was/is shut down, to the fear we all feel, and to the hope of breaking free.” It’s a nice video, which also features choreography by Margo’s sister Kylie Price.

Margo is part of this Thursday’s John Prine livestream tribute that is also set to feature Jason Isbell, Brandi Carlile, Bonnie Raitt, Kacey Musgraves, Bill Murray, Sturgill Simpson, Iris DeMent, Jim James, Kurt Vile, Dan Auerbach, and more.

Need more? Margo recently released live album Perfectly Imperfect at The Ryman which features Sturgill, Jack White, and Emmylou Harris.

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Margo Price has released a new live album, “Perfectly Imperfect at The Ryman”, which documents her sold-out three-night run at the iconic Nashville, TN venue in 2018. The album comes after Price announced back in March she would delay the May 8th release of her new Sturgill Simpson produced studio album, “That’s How Rumors Get Started”, due to the ongoing COVID-19 crisis.

“I am so excited that we are releasing it today,” said Price in a press release. “The recordings are rough and the performances are raw, but there was a magic there and the band was on fire. We played unreleased songs, alternative album versions and had lots of special guests. I hope it moves you.”

The 11-track album features collaborations with Emmylou Harris on Margo’s original, “Wild Women”, Sturgill Simpson on a rendition of Rodney Crowell‘s “Ain’t Livin Long Like This”, and Jack White on a duet of the rare White Stripes track, “Honey We Can’t Afford to Look This Cheap”. Additionally, Perfectly Imperfect at The Ryman also features a “funk version” of Price’s Midwest Farmer’s Daughter track, “Weekender”, and a take on the title track of her 2017 LP, All American Made.

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“Perfectly Imperfect at The Ryman” is available now via Bandcamp. Preview the album below, scroll down for the full tracklist and credits, and purchase it for $10, All proceeds will benefit the MusiCares COVID-19 Relief Fund.

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I’m so excited to announce my third full length album ‘That’s How Rumors Get Started’ will be out May 8th. It was produced by my friend Sturgill Simpson and recorded in Los Angeles. I feel like it’s been a long time coming… I had a baby and felt like I fell off the face of the earth for a while. We live in strange times but I hope this brings a little light to the dark corners of the world. Watch the new music video for my new single “Twinkle Twinkle”. That’s How Rumors Get Started sees Nashville icon and 2019 Best New Artist Grammy nominee Margo Price commit her genre-bending rock-and-roll show to record for the first time, stretching out her emotive twang over sky-high soft-rock, burning psychedelic rock ballads, stomping road songs, and sprinkles of pop. With production from her friend and longtime collaborator Sturgill Simpson, it shows both of them pushing into unexpected directions.

Music video by Margo Price performing Twinkle Twinkle. © 2020 Margo Price., Under exclusive license to Loma Vista Recordings.

Country star Margo Price has always toed the line between diving backward into country music’s canon and ushering an innovative future for the genre. Luckily, she’s able to do both on her don’t-you-dare-call-it-a-slump sophomore release. All American Made. Vocally, she still pays homage to the country fore mothers to whom she’s oft compared, like Dolly Parton and Loretta Lynn. Looking ahead, however, Price expands her musical horizons past the cliché of three-chords and the truth. Her voice sounds stronger, more confident than on her wily, ragged debut, and her backing musicians help build a versatile foundation for her croons and screams.

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Country star Margo Price has always toed the line between diving backward into country music’s canon and ushering an innovative future for the genre. Luckily, she’s able to do both on her don’t-you-dare-call-it-a-slump sophomore release. All American Made. Vocally, she still pays homage to the country fore-mothers to whom she’s oft compared, like Dolly Parton and Loretta Lynn. Looking ahead, however, Price expands her musical horizons past the cliché of three-chords and the truth. Her voice sounds stronger, more confident than on her wily, ragged debut, and her backing musicians help build a versatile foundation for her croons and screams.

Margo Price will release her sophomore solo album All American Made on October 20th via Third Man Records. The follow-up to the 2016 breakout smash Midwest Farmer’s Daughter, the new record finds Price wrestling with the travails of the road, sexism in the music industry, and the darker currents of the American political landscape. One track, “Learning To Lose,” features a guest vocal from none other than Willie Nelson.

Price recorded the album in Memphis at Sam Phillips Recording with her band of regulars that includes Kevin Black (bass), Jamie Davis (electric guitar), Micah Hulscher (piano), Jeremy Ivey (acoustic guitar/bass/harmonica), Dillon Napier (drums), and Luke Schneider (pedal steel). Matt Ross-Spang and Alex Munoz helmed the sessions, co-producing with Price and Ivey.

Price also announced a headlining tour for 2018, in addition to some fall festival slots. Check out the album’s first single, “A Little Pain,”

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The National return with their much anticipated seventh album, produced by Aaron Dessner, with additional production by Matt Berninger and Bryce Dessner. The album was mixed by Peter Katis and recorded at Aaron’s Long Pond studio in Hudson Valley, NY.

While in some ways it’s typically National-sounding, they’ve definitely added some new elements to their sound. Opening track “Nobody Else Will Be There” is a stripped back ballad with melancholic piano, and Matt’s distinct vocals, but the electronics pulsing away in the background are a sign of what’s to come with the album.

All the usual elements are there, intricate guitars, delicate piano keys, scatter-shot drums and of course Matt’s mumbling/crooning baritone, but a new layer of electronics bubbling away in the mix adds a new dimension to their sound. As with the last couple of albums, it features mostly fairly downtempo ballads but they do ramp things up from time to time: “Day I Die”, “They System Only Dreams In Total” and the big rock-out track of the album, “Turtleneck”. It’s taken a few listens to get into it, but it’s definately their best album yet.

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Although L.A. Witch hail from Los Angeles, they do not partake in any sort of witchcraft. Yet their ability to conjure a specific time and place through their sound does suggest a kind of magic. On their eponymous debut album, L.A. Witch’s reverb-drenched guitar jangle and sultry vocals conjure the analogue sound of a collector’s prized 45 from some short-lived footnote cult band. The melodies forgo the bubblegum pop for a druggy haze that straddles the line between seedy glory and ominous balladry; the production can’t afford Phil Spector’s wall of sound but the instruments’ simple beauty provides an economic grace that renders studio trickery unnecessary; the lyrics seem more descendent of Johnny Cash’s first person morality tales than the vacuous empty gestures of pre-fab pop bands. This isn’t music for the masses; it’s music for miscreants, burnouts, down-and-out dreamers and obsessive historians.

Album opener ‘Kill My Baby Tonight’ is the perfect introduction to the band’s marriage of 60s girls-in-the-garage charm and David Lynch’s surreal exposés of Southern California’s underbelly. Sade Sanchez’s black velvet vocals disguise the malicious intent of this murder ballad, with the thumping pulse of bassist Irita Pai, the slow burn build of drummer Ellie English and Sanchez’s desert guitar twang helping beguile the listener into becoming a willing accomplice to the narrator’s crimes.

‘Brian’ follows the opening track with a similarly graceful, if not somewhat ominous, slow-mo take on a well-worn jukebox 7”. It’s a vibe that permeates the entire album, from the early psychedelic hue of 13th Floor Elevators on tracks like ‘You Love Nothing’, through the motorik beat and fuzzed-out licks of ‘Drive Your Car’, to the grittier permutation of Mazzy Star’s sleepy beauty on ‘Baby In Blue Jeans’.

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The Waterboys release their brand-new studio double album Out Of All This Blue; their first for BMG Records, with whom they recently signed. Out Of All This Blue is The Waterboys most exploratory recording yet, comprising 23 songs with Mike Scott’s trademark sharp lyrics set to pop music with echoes of classic R&B, country, soul and funk and underpinned by modern hiphop production values and rhythms. String and brass sections were arranged and conducted by Trey Pollard of The Spacebomb Collective. Mike Scott says of the record: “Out Of All This Blue is 2/3 love and romance, 1/3 stories and observations. I knew from the beginning I wanted to make a double album, and lucky for me – and I hope the listener – the songs just kept coming, and in pop colours.”

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Following the release of the critically celebrated Midwest Farmer’s Daughter, Margo Price returns with four fresh, gutsy originals that further explore themes of duality, loss and redemption that expand her musical pallet. The four new tracks are being released as a two-piece 7’’ bundle “EP” – a Third Man Records first.

“Paper Cowboy” (written by Matt Gardner) is a whip-smart anthem tailor-made for the blistering summer festival circuit that touches cosmic country territory with a four minute jam that hits a listener like heaven. Meanwhile, “Good Luck” (For Ben Eyestone) is a bittersweet farewell that stands as a perfect fit for when the credits start to roll, the sun takes seat and the world signs off…

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The song Old Heads is a sci-fi space anthem to technology that constantly replaces itself, proving both necessary and unnecessary at the same time. It’s also a jangly pop gem, a trip through the fantastical that is ultimately warm and relatable. This remarkable coexistence is one of many achievements of Chad VanGaalen’s Light Information, his sixth record on Sub Pop. For an album that’s about “not feeling comfortable with really anything,” as VanGaalen says, Light Information is nonetheless a vivid, welcoming journey through future worlds and relentless memories. The rich soundscapes and sometimes jarring imagery could only come from the mind of a creative polymath – an accomplished visual artist, animator, director, and producer, VanGaalen has scored television shows, designed puppet characters for Adult Swim, directed videos for Shabazz Palaces, Strand of Oaks, METZ, Dan Deacon, and The Head and the Heart, and produced records for Women, Alvvays, and others. While alienation has always been a theme of VanGaalen’s music, Light Information draws on a new kind of wisdom – and anxiety – gained as he watches his kids growing up. “Being a parent has given me a sort of alternate perspective, worrying about exposure to a new type of consciousness that’s happening through the internet,” he says. Throughout the dark-wave reverb of Light Information are stories of paranoia, disembodiment, and isolation – but there’s also playfulness, empathy, and intimacy. The product of six years’ work, going back even before 2014’s Shrink Dust, Light Information emerged from the experimental instruments that fill VanGaalen’s Calgary garage studio. As always, VanGaalen wrote, played, and produced all of the music on Light Information (save Ryan Bourne’s bass part on Mystery Elementals and vocals on Static Shape from his young daughters Ezzy and Pip), and designed the cover art.

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The second album from Alvvays, Antisocialites, is set for release on Transgressive Records. Across ten tracks and thirty-three minutes, the Toronto-based group dive back into the deep end of reckless romance and altered dates. To write Antisocialites, Rankin traveled to Toronto Island, working in an abandoned schoolroom by day and sleeping a few feet from shore at night. “I carried a small PA on the ferry in a wheelbarrow,” she recalls. “Every morning I would listen to my favourite records on the beach, then I’d write melodies and record demos in the classroom.”

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The Dream Syndicate are at the foundation of contemporary alternative music because back in 1981 at a time when most bands were experimenting with new technology, they choose to bring back the guitar. Their seminal album The Days of Wine and Roses (1984) has been cited as influential by artists from Nirvana to The Black Crowes. The Dream Syndicate are at the foundation of contemporary alternative music because back in 1981 at a time when most bands were experimenting with new technology, they choose to bring back the guitar. Their seminal album The Days of Wine and Roses (1984) has been cited as influential by artists from Nirvana to The Black Crowes. Known for their incredible live performances, the band toured with everyone from R.E.M. to U2, before splitting up in 1988. In 2012 after years apart in solo projects, front man Steve Wynn reunited The Dream Syndicate to perform at a charity festival in Spain. The reunited band took everything in baby steps. A few shows here and there—including a still talked-about set at Wilco’s Solid Sound Festival. The shows were exciting—for both the band and the eagerly awaiting fans, many of whom weren’t even alive when the band were around the first time.

The next step was to see if the excitement and newfound chemistry would extend to the studio. From the first day of recording it was apparent that the band was making an album that would live up its history and take their story into the present. Wynn says, “In a way it feels like if The Days of Wine and Roses would have been made in 2017. Which is to say that it’s true to what we did before but it’s also a whole new thing.”

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“Up until 2014 I was an investigator’s assistant in a public law office. I can’t tell you exactly what my job was on account of I signed a shut your mouth agreement around the time I quit for stress related reasons. But what I can say is that I dealt with corruption and badness perpetrated at the highest levels of authority, daily. I clocked all these leads and I made a file. Because these aren’t things you keep in the dark. You shine a light on the badness and you strive to understand it.

“From a dossier on all things delicate and beautiful and sadly human. Crimes of passion and victims of love. All contained in 10 hot songs. Who’s the culprit? I’ve got my inklings and you can get your own. But first you need to listen to the thing, take it all in, stick photos to your walls and connect them with string, measure footprints in the yard, wear a suit made of reeds, track the migration patterns of birds, intercept whispered transmissions, learn to eat spiders with a hunting knife, sleep in air ducts, make the case.

“Here it is, my album: ‘Forced Witness’.” – Alex Cameron

Album features guest appearances by Brandon Flowers (The Killers), Angel Olsen and Weyes Blood.

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Neil Young will open his archive and release Hitchhiker, an unreleased new studio album. The 10-track acoustic solo album was recorded in Malibu, CA at Indigo Studio in 1976. The original session was produced by Young’s long-time studio collaborator David Briggs.

Recorded between Zuma and American Stars and Bars as a solo album in a single session, the resultant performances are truly breathtaking and passionate. The simplicity of a single voice and guitar captured here is as pure and powerful as it gets, with only Young, Briggs and actor Dean Stockwell in the room at the time of recording. A few of the songs would not appear on vinyl until years later. Some have never been heard, included in the original sessions for Neil Young and Crazy Horse’s “Dume” another unreleased record of original sessions that yielded the classic album, Zuma. When the Hitchhiker album was recorded, none of the included songs had ever been released and many of the performances of the songs were the first ever. This is truly an album of original performances

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Experiencing one emotion at a time is a luxury of the past. Think back to that moment at the women’s march or the pro-science rally, when you spied a small child holding a handmade sign that read “I love naps but I stay woke” or “Boys will be boys good humans” or “May the facts be with you.” How adorable! How upsetting! How the hell are they going to make it to adulthood in this toxic environment? Deerhoof is right there with you.

They recognize that we are simultaneously living in two worlds, one a maniacal, mainstream monoculture hell-bent on driving humankind into extinction, the other a churning underground teeming with ideas and dogged optimism and the will to thrive and survive. Mountain Moves refutes the former by ecstatically celebrating the latter. Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide op en. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines.

The only common thread was that each and every artist on Mountain Moves doesn’t fit into a single, neatly-defined category – and doesn’t wish to. If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof’s traditional orbit, an opportunity to bring even more voices into the communal conversation. We’re all in this together.

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Acclaimed Norwegian singer songwriter and producer Susanne Sundfør releases her highly anticipated new album ‘Music For People In Trouble’ through Bella Union Records.

Sundfør’s most poignant and personal album to date, ‘Music For People In Trouble’ marks her out as one of the most compelling artists in the world.

The album was inspired by a journey Susanne made in a bid to re-connect, travelling across continents to contrary environments and politically contrasting worlds from North Korea to the Amazon jungle.

“We are living in a time of great changes. Everything is moving so rapidly, sometimes violently, sometimes dauntingly. I think a lot of people experience anxiety these days. I wanted to address these emotions on the album.” – Susanne Sundfør

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Third album for all female Melbourne psych-rock icons. Love from Pitchfork, Spin, Stereogum, GvsB. Iconic Australian psych rock quintet Beaches return with epic double LP Second Of Spring – Chapter Music’s first double album by a single artist. Beaches’ much-loved second album She Beats brought the band international acclaim in 2013. Featuring guitar by German motorik hero Michael Rother (Neu, Harmonia), the album earned raves from Pitchfork, Stereogum, Gorilla Vs Bear, Spin and elsewhere.

Second Of Spring takes Beaches even further out, to where the pyramid meets the eye – an enveloping sonic landscape filled with extended instrumentals, overdriven psych-outs and propulsive pop nuggets. The album was recorded in Melbourne with engineer/producer John Lee (Totally Mild, Lost Animal). Artwork is by the band‘s Ali McCann, with design by renowned artist Darren Sylvester. Beaches’ self-titled 2008 debut was shortlisted for the Australian Music Prize, and included in glossy coffee table book 100 Best Australian Albums.

The band released a standalone 12″ on New York lab el Mexican Summer in 2010. They have toured the US twice, playing SXSW and Austin Psych Fest, and shared stages with Roky Erickson, Deerhunter, The Cult, Thee Oh Sees, Lightning Bolt, Mogwai, Best Coast and more. Already revered as sprawling, swirling psych overlords, Second Of Spring is Beaches‘ undeniable magnum opus.

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Woods have always been experts at distilling life epiphanies into compact chunks of psychedelic folk that exists just outside of any sort of tangible time or place. Maybe those epiphanies were buried under cassette manipulation or drum-and-drone freakouts, or maybe they were cloaked in Jeremy Earl’s lilting falsetto, but over the course of an impressive eight albums, Woods refined and drilled down their sound into City Sun Eater in the River of Light, their ninth LP and second recorded in a proper studio. It’s a dense record of rippling guitar, lush horns, and seductive, bustling anxiety about the state of the world. It’s still the Woods you recognize, only now they’re dabbling in zonked out Ethiopian jazz, pulling influence from the low key simmer of Brown Rice, and tapping into the weird dichotomy of making a home in a claustrophobic city that feels full of possibility even as it closes in on you. City Sun Eater in the River of Light is concise, powerful, anxious – barreling headlong into an uncertain, constantly shifting new world.” .Woods’ second album in a proper studio continues where “With Light..” left off with superb tunes, cool grooves (now funky and even jazzy) and their usual mellow 60’s vibe. There’s also a tangible reggae flavour here, which is a tasty addition to their template (all things transcendent) whilst The Song is still, of course, king. Really good record!
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Working in the sweetly swinging tradition of Serge Gainsbourg and the yé-yé sound of the ’60s, the Limiñanas have a sound that blends sunny psychedelia with vintage pop. Based out of Perpignan, France, the group is composed of drummer and sometime vocalist Marie Limiñana and bassist, organist, and jack-of-all-trades Lionel Limiñana, as well as a host of guest vocalists including MU. With its combination of fuzzy organ, half-spoken/half-sung vocals, and vintage production, the band captures the sexy, ultra-hip sound of classic French pop. After releasing a series of singles, the duo released its self-titled debut in 2010 through the Chicago label Trouble in Mind. The band continued to crank out singles, and a second album, Crystal Anis, followed in the summer of 2012. After taking some time to revamp the Limiñanas‘ sound to introduce more elements of French and Italian soundtrack music, the duo returned quickly with its third album for Trouble in Mind. Costa Blanca was issued in late 2013. The band are now back with new relase “Malamore”.

Malamore is French psych-pop-rock at its finest. Progressive hooks, walking bass and spoken word passages. Never scared to rock a groove or stamp on that wah-wah. This is a varied and exciting collection that reads like a what’s-what of psych/folk/rock tropes, but at no point feels stifled or clichéd. Starry-eyed and swaying passages segue into droning distortion and chanted vocals. A Fulfilling and absorbing ride.

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First impressions matter. Especially on a debut album. Time and attention-strapped listeners size up an artist within a song or two, then move on or delve in further. Fortunately, it only takes Margo Price about twenty-eight seconds to convince you that you’re hearing the arrival of a singular new talent. “Hands of Time,” the opener on Midwest Farmer’s Daughter, is an invitation, a mission statement and a starkly poetic summary of the 32-year old singer’s life, all in one knockout, self-penned punch. Easing in over a groove of sidestick, bass and atmospheric guitar, Price sings, “When I rolled out of town on the unpaved road, I was fifty-seven dollars from bein’ broke . . .” It has the feel of the first line of a great novel or opening scene in a classic film. There’s an expectancy, a brewing excitement. And as the song builds, strings rising around her, Price recalls hardships and heartaches – the loss of her family’s farm, the death of her child, problems with men and the bottle. There is no self-pity or over-emoting. Her voice has that alluring mix of vulnerability and resilience that was once the province of Loretta and Dolly. It is a tour-de-force performance that is vivid, deeply moving and all true.

From the honky tonk comeuppance of “About To Find Out,” to the rockabilly-charged “This Town Gets Around” to the weekend twang of “Hurtin’ (On The Bottle)”, Price adds fresh twists to classic Nashville country, with a sound that could’ve made hits in any decade. Meanwhile, the hard-hitting blues grooves of “Four Years of Chances” and “Tennessee Song” push the boundaries further west to Memphis (the album was recorded at the legendary Sun Studio).