Posts Tagged ‘New Orleans’

Silver Synthetic

Loved the debut EP from New Orleans chooglers Silver Synthetic which came out last year and with “In The Beginning,” the band announces their first LP for Third Man coming on April 9th. The song follows the debut’s sunbaked country saunter — a gulf stream gust of Cosmic Americana that’s steeped in twang with just a hint of West Coast vibe and running through it. While its not easy to shake the salt air out of the song, at its core there’s a heat struck, back porch sound to ease “In The Beginning” that feels soaked in humid Southern summer nights with nothing on the docket the next day. Despite its title, the cut’s a bit of an end of party tune, winding down with the last couple of stalwarts still taking in that star-borne vista and feeling set for the moment. The band’s eponymous debut sets them up nicely to slot in among the current cosmic revival, clipping a couple of stunners from the EP and setting them up with a whole bunch of new favourites as well. 

New Orleans garage-psych quartet Silver Synthetic are excited to announce their anticipated self-titled debut album, due April 9th, 2021 via Third Man Records. The first glimpse of the album is the opening track “In The Beginning” and its accompanying video — watch and listen to the track and pre-order Silver Synthetic . The album will be released on vinyl, CD, and Bandcamp-exclusive cassette on April 9th. Limited-edition “sunrise swirl” vinyl will be available at TMR storefronts and select indie record stores in the US & UK.

In the Beginning · Silver Synthetic ·  Third Man Records Released on: 2021-02-17

Esther Rose

Esther Rose was in perpetual motion when she wrote her third album, “How Many Times”. In the span of two years, she moved three times, navigated the end of a relationship, and began touring more than ever. The New Orleans-based singer-songwriter used that momentum while she penned her third studio album. That’s why, as the album title’s nod to the cyclical nature of life implies, there’s a rush that accompanies How Many Times as if you’re experiencing an awakening, too.

Esther Rose announced her new album How Many Times, due out on March 26th via Father/Daughter Records and Full Time Hobby. It’s her third full-length, and it follows her 2019 album You Made It This Far. The announcement also came with a Sarrah Danziger-directed music video for the title track. The new single mixes Rose’s tried-and-true country roots with a doo-wop-esque sway and some sha-la-la’s for good measure. Add fiddle, lap steel and acoustic guitar to Rose’s winsome, compassionate vocals and timeless tale of heartbreak that needs to be numbed, and what’s not to love? “It’s not really just about feeling better, it’s about feeling it, whatever it is,” Rose says of her forthcoming album.

Rose expands her alt-country sound into a blossoming world of folk pop and tender harmonies. A collection of complete takes recorded live to tape with rich instrumentation, soul-tugging hooks, and resonating vocal melodies, How Many Times carries you into the room in which it was made. There to help realize this was co-producer Ross Farbe of synthpop band Video Age, who Rose also credits for bringing a stereo pop glow to these new songs.

Rose’s journey through the past few years has been one of saying yes to new opportunities, all while nurturing and playing in bands in the New Orleans country music scene. The arrival of How Many Times is evidence of the sweeping growth Rose has undergone, both personally and artistically. She’s turning towards her troubles and facing them head-on, ready to feel whatever’s necessary in order to keep growing upwards and outwards.

The Band:

Matt Bell: Lap steel
Lyle Werner: Fiddle
Esther Rose: Vocals + Acoustic Guitar
Cameron Snyder: Drums + Harmonies
Max Bien Kahn: Electric Guitar + Harmonies
Dan Cutler: Upright Bass + Harmonies
Ric Robertson: Acoustic Guitar on Track 7
Howe Pearson: Drums + Harmonies on Tracks 3, 5
Gina Leslie: Electric Bass + Harmonies on Tracks 3, 5

All songs written by Esther Rose

‘How Many Times’ out March 26th, 2021 on Father/Daughter & Full Time Hobby.

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You can think of Esther Rose’s warm, hopeful country songs like points on a map. The New Orleans singer-songwriter takes pleasure in guiding you through colourful landmarks—especially those throughout her hometown—but she also makes time for smaller, quieter spots: say, the bar where a relationship turned sour, or the dreary high school where she and her sister begrudgingly drove each morning. Recorded direct-to-tape and accentuated with lap steel and fiddle, her songs pull you in like this; she wants you to see the scenery, learn the history, and feel at home before she sends you on your way.

With her two solo records—2017’s This Time Last Night (Mashed Potato) and 2019’s You Made It This Far (Father/Daughter)—Esther Rose is at the beginning of her own journey. Her vibrant, homespun music has earned comparisons to Hank Williams and Rilo Kiley, and, over the past year, she has toured with acts such as Nick Lowe & Los Straitjackets, The Cactus Blossoms, and Charley Crockett. Carving new ground while drawing on the tradition of classic folk music, she uses tender stories to depict deeper cosmic truths. As she sings, she invites you to a world that feels familiar, magical, and entirely her own.

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On her new EP, “My Favorite Mistakes”, Rose and her band cover a selection of downer anthems close to her heart. Recorded live over three days, it includes songs written by Sheryl Crow, Nick Lowe, Roy Orbison, and, of course, Hank Williams. “When I was starting out on my guitar playing/songwriting path,” Rose says, “I would listen to Hank Williams on my headphones and walk for miles and miles across town and back. Hank is one of the best teachers I’ve had when it comes to writing simply and directly, with humour and sincerity.” Through these performances, Rose sings not only in tribute to her heroes but also in deep, intimate conversation with them, traveling their lonesome highways to find her own new destinations.

Released May 29th, 2020

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“Naked Winter” is an angsty track from the New Orleans band Mighty Brother. Bending genres, Mighty Brother seems to traverse sonic landscapes of folk, rock, funk, and jazz. The video captures familiar feelings of isolation, uncertainty about the future, and the feeling of being held hostage by uncontrollable forces…. a timely watch during these isolating times. As the first release from their upcoming double album (no, that’s not a typo) we can’t wait to see what comes next from this group.

Based in New Orleans, Mighty Brother carves a unique space in today’s modern soundscapes with a distinct mashup of styles that has been described as a “blend of Avett-Americana and Radiohead-esque art rock” (Offbeat Magazine). A menagerie of musical influences led Mighty Brother to develop an indie-rock sound that simultaneously pays tribute to folk, singer-songwriter, funk, and alternative soundscapes with soaring harmonies and striking melodies that knit an eclectic sound, guiding the listener through unconventional grooves and adventurous lyricism. Their third album – a double album – The Rabbit. The Owl. is an introspective look into the band’s emerging theme of duality in both their music and their writing. Straddling the lines between genres The Rabbit. The Owl. is a prime showcase of the band’s unique musical flair and serves as an introspective look into Mighty Brother’s exploration of sound, concepts, and ideas.

Band Members
Ari Carter, Nick Huster, Quinn Sternberg, Jonah Tarver

Naked Winter is the first single from Mighty Brother’s upcoming Double Album “The Rabbit. The Owl.”

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.

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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

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Following the release of a new single, an album announcement, and new upcoming US tour dates, the beloved New Orleans indie-rock duo Generationals are back today with their latest single “Gatekeeper”. A fusion of classic indie rock sound, charming vocals, and shimmering pop melodies, this latest single is another statement that the band is back and better than ever.

The Generationals new full-length album, Reader As Detective, is proving to be a testament to a band that has clearly been refining their skills over the years. “Gatekeeper” is a shimmering display of indie-pop sound that warms the soul but with clear attention to production that has us especially excited. A catchy percussion kick, a classic indie-rock guitar riff, and a charismatic bassline gets the listener hooked right from the start. From there, a slight distortion helps deliver a warming vintage vocal sound that hits that falsetto at just the right moment to make “Gatekeeper” prime to being this summer’s true indie-pop gem.

The indie-rock vocals never overpower that shimmering and pulsating pop melody and it’s that kind of mindfulness that only comes from seasoned musicians who truly been refining their sound. The Generationals this is their latest release since 2009 release ‘Con Law’ and  “Gatekeeper” dances beautifully between catchy synth work, animated guitar riff breaks and a summery indie-pop beat that has us thrilled for this new full-length album and upcoming tour.

Band Members
Ted Joyner,
Grant Widmer

Image result for DR JOHN PICS

The family of the Louisiana-born musician known as Dr. John says the celebrated singer and piano player who blended black and white musical influence with a hoodoo-infused stage persona and gravelly bayou drawl, has died. He was 77. A family statement released by his publicist says Dr. John, who was born Mac Rebennack, died early Thursday of a heart attack.

His spooky “Gris Gris Gumbo Ya Ya” slithered onto the pop-dominated market in 1968, startling listeners with its sinister implications of other-worldly magic..

In the summer of ‘97, the love of indie music was at its most highpoint with Spiritualized’s Ladies and Gentlemen We Are Floating In Space. Dr John plays on the awesome “Cop Shoot Cop,”.

Dr John classic vinyl of Gris Gris. Mac Reddenback recorded it in L.A. with some NOLA studio musicians its a melange of psychedelic choogle with swamp gas vocals. It is one of the truly original listens in pop history. It’s singualar in the way Astral Weeks doesn’t really have a parallel, or the first Suicide album is true standalone.

the startling brew of voodoo funk and strange incantations, epitomised by the eerie eight-minute mantra “I Walk on Guilded Splinters”. Nobody had heard anything like it, including his label boss, Ahmet Ertegun. “Ahmet asked me: ‘What is this record you gave me … Why didn’t you give me a record that we could sell?’” Dr John recalled. He took the album on tour with a show resembling a bayou magic act, decking himself out in outlandish feathers, witch-doctor robes and headdresses.

Two follow-up albums to Gris-Gris – Babylon (1969) and Remedies (1970) – began to make him influential friends, including Eric Clapton and Mick Jagger, who both appeared on The Sun, Moon & Herbs (1971), After The Sun, Moon & Herbs he brought out the album Dr John’s Gumbo (1972), conceived as a tribute to New Orleans music, particularly the compositions of Professor Longhair . In 1973 he released the biggest selling album of his career, In the Right Place. Produced by Allen Toussaint and with the Meters as backing band, gave him a US Top 10 hit single with Right Place, Wrong Time. It also included Such a Night, which Dr John would perform at the Band’s 1976 farewell concert, filmed by Martin Scorsese as The Last Waltz.

Born Malcolm John Rebennack in 1941 in New Orleans, he began taking music lessons as a teenager and was exposed to jazz and early rock ‘n’ roll at a young age. In 1965, he moved to Los Angeles, where he developed the Dr. John persona, inspired by New Orleans voodoo. His style of music initially blended New Orleans R&B with psychedelic rock, and his debut album “Gris Gris” was released in 1968, which was a bold and strange introduction to his singular sound. In 1973, he released what would become his biggest hit, “Right Place, Wrong Time,” and over the course of his career he released two dozen albums. In 1997, he also collaborated with Spiritualized, performing piano on their sprawling track “Cop Shoot Cop.”

In 2011, Dr. John was inducted into the Rock and Roll Hall of Fame. His last album was 2014′s Ske-Dat-De-Dat: The Spirit of Satch,

Bruce Springsteen

Bruce Springsteen recently surprised the attendees at the Asbury Park Music and Film Festival by announcing that he would be releasing a concert film from the epic show that The Boss delivered to a 2006 Fest pummeled, bruised and beaten by Hurricane Katrina just eight months prior.

This was the first time Bruce had debuted his Seeger Sessions Bands, and there are many people that would argue that it was one of the most important sets ever delivered during the entire history of the festival. Springsteen devotes four full pages of “Born to Run” to his 2006 Jazz Fest experience. For many of those who stood on the Acura Stage field at the Fair Grounds that day, Springsteen’s show was a watershed event, an emotional meeting of music and moment.

He apparently felt the same way. He prefaces his account with, “There was one show in America that stood out as not only one of the finest but one of the most meaningful of my work life: New Orleans.”

He recounts arriving at the Fair Grounds at 8:30 a.m. for a sound check before the festival opened. U2 guitarist The Edge, an old friend, was there bright and early, as well, watching from the side of the Acura Stage as the Seeger Sessions Band rehearsed. He concludes, “I’ve played, many, many, many shows, but few like this one. …You cannot book, manufacture or contrive these dates. It’s a matter of moment, place, need, and a desire to serve in your own small way the events of the day. There, in New Orleans, there was a real job to do.”

Springsteen emphasizes how critical performing is to his existence; it is his primary drug. “I’ve never gotten anywhere near as far or as high as when I count the band in and feel what seems like all life itself and a small flash of eternity pulsing through me. It’s the way I’m built.”

Springsteen said he to release a film of his April 30th, 2006 performance with the Seeger Sessions Band at the New Orleans JazzFest. He considers that show, he said, to be among his Top 5, ever. He also said, about that rootsy Seeger Sessions project, “I wanna do that again sometime.”

Bruce Springsteen ranking that show as quite likely the best, and certainly most emotional, musical experience.

As Bruce Springsteen led his sprawling Seeger Sessions Band onto the Acura Stage on the Sunday, he confessed to a hint of trepidation. “It’s our first gig, ” he said. “Let’s hope it goes well.” Moments later, he encountered a “technical problem” with his pants. Grinning, the embarrassed Boss turned his back to the vast audience and made the necessary adjustments. “It’s not just a new band, ” he later explained, “but a new belt.”

That was his first, and final, glitch. For two hours, Springsteen and his glorious Seeger Sessions ensemble — six horns, a banjo, accordion, pedal steel, fiddles, piano — rendered vintage folk and protest songs stirringly alive and relevant in a tour de force performance. Like few others in popular music could, he crafted a show that spoke eloquently to the city’s struggles, both welcome distraction and poignant reminder.

The opening “O Mary Don’t You Weep” set the tone. Springsteen led, then the full ensemble swung in behind him. A muted trumpet, a trombone and a saloon piano all took solos. Springsteen, as usual, heaved himself into the material at hand. The gravel in his voice stamped a ragged glory on “John Henry” over banjos and accordion. “Old Dan Tucker” and “Open All Night” were each a hoot. Big horn swells lit up a gritty “Jesse James.”

The best folk songs transcend time. In the old Irish anti-war ballad “Mrs. McGrath, “ a cannonball claims her son’s “two fine legs”; it could just as easily have been an improvised explosive device.

Certain lyrics resonated more directly for locals: “There’ll be better times by and by.” “God gave Noah a rainbow sign, no more water, but fire next time.” “The bank holds my mortgage and they want to take my house away.” “The only thing we did right was the day we started to fight.” And it was easy to imagine “Louisiana” swapped into the lyrics to “My Oklahoma Home, ” which was “blown away” in a natural disaster.

In his most overtly political statement, Springsteen recalled his visit the previous afternoon to the 9th Ward. “I saw some sights I never thought I’d see in an American city, ” he said. “The criminal ineptitude makes you furious.” In response, he adapted Blind Alfred Reed’s “How Can a Poor Man Stand Such Times and Live” with new lyrics dedicated to “President Bystander”: “My old school pals had some high times there/What happened to you folks is too bad, ” he sang, mocking President Bush’s comments in the early days after Hurricane Katrina.

The set’s watershed moment, literally, was “My City of Ruins.” Originally written for his adopted hometown of Asbury Park, N.J., he dedicated it to New Orleans. To a hushed audience, Springsteen closed his eyes and began: “There’s a blood red circle on the cold dark ground, and the rain is falling down/The church door’s blown open, I can hear the organ’s sound, but the congregation’s gone . . . the boarded-up windows, the hustlers and the thieves, while my brother’s down on his knees . . . now tell me how do I began again? My city of ruins. . .” And then the refrain: “Come on, rise up! Rise up!” Thousands lifted their hands to the sky.

Just as quickly, Springsteen kicked back into good-time gear with “Buffalo Gals” and a zydeco rubboard and accordion reimagining of “You Can Look (But You Better Not Touch), “ from his 1980 album, “The River.” A tuba, improbably enough, was the final instrument onstage before the encore at a Springsteen show.

Then he presented one last gift. A hundred bands in New Orleans, Springsteen said, could play this last song better than he. But he had come across two lesser-known verses that he thought might be appropriate. With that, he unspooled “When the Saints Go Marching In, “ not as a boisterous, high-kicking second-line, but as an acoustic prayer, delivered in a desperate hour. Face clenched, he sought the promised land: “Now some say this world of trouble is the only world we’ll ever see/But I’m waiting for that moment when the new world is revealed.”

No other artist could have spoken to, and for, the city of New Orleans at this most important of Jazzfests more purposefully, more passionately and more effectively than Bruce Springsteen and the Seeger Sessions Band.

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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!